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Full text of "The Frank C. Brown Collection of North Carolina Folklore; the folklore of North Carolina, collected by Dr. Frank C. Brown during the years 1912 to 1943, in collaboration with the North Carolina Folklore Society"

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DUKE 

UNIVERSITY 

LIBRARY 


GIFT  OF 


^R^!?....yMy6?s.ity..Press 


D    U    K    E   .     U    N    I    V    K    R    S    1    T    V    •     1'    V    15    L    1    C    A     T    IONS 


T/ie  Frank  C.  Brown  Collection  of 

NORTH   CAROLINA 
FOLKLORE 


HERB    G  A  r  H  1£  K  E  R  S 


Vie  FRANK  C.  BROWN  COLLKCTION  of 

NORTH  CAROLINA 
FOLKLORE 


Thk   Foi-KLork   of    XoRiii    Carolina    coLi.inii)    i!V    I^r.    I'Rank    t'.    Hroun 

DURING  THF.   YEARS    19  I  2    TO    I  943    IN    COLLAliORATlON    WITH    TlIK    XORTH    CARO- 
LINA Folklore  Society  of  whkh  he  was  Secretary-Treaslrer    1913-1943 

IN    FIVE    VOLUMES 

Genera!  Editor 
NEWMAN    IVKY    WHITE 

Associate  Editors 

HENRY    M.    BELDEN  PAUL  G.   BREWSTER 

WAYLAND  D.   HAND  ARTHUR  PALMER   HUDSON 

JAN    P.    SCHINHAN  ARCHER   TAYLOR 

STITH    THOMPSON         BARTLETT   JERE    WHITING 

GEORGE   P.   WILSON 

PAULL    F.   HAUM 

Wood  Engrav'fugs  l/y 

CI. ARE    I.RK.HTON 


DURHAM,  NORTH  CAROLINA 

DUKE  U  N  I  ^'  E  R  S  rr  Y  PRESS 


Volume  I 

GAMES  AND  RHYMES  •   BELIEFS   AND   CUSTOMS   •  RIDDLES 
PROVERBS  •  SPEECH   'TALES  AND  LEGENDS 

Edited  by 
Paul  G.   Brewster,  Archer  Taylor,   Bartlett  Jere   Whiting, 
George  P.   Wilson.   Stith   Thompson 


Volume  II 
FOLK  BALLADS  FROM    NORTH   CAROLINA 

Edited  by 
Henry   M.    Belden   and   Arthur   Palmer   Hudson 

Volume  III 
FOLK  SONGS  FROM   NORTH    CAROLINA 

Edited  by 
Henry   M.    Belden   and  Arthur  Palmer   Hudson 


Volume  IV 

THE  MUSIC  OF  THE  BALLADS  AND  SONGS 

Edited  by 
Jan  P.   Schinhan 

Volume  V 
SUPERSTITIONS  FROM   NORTH  CAROLINA 

Edited  by 
Wayland  D.  Hand 


VX/c  FRANK  C.  BROWN  C0IJ,ECT10N  o/" 

NORTH   CAROLINA 
FOLKLORE 


VOLUME  THREE 


FOLK    SONGS 

FROM 
NORTH    CAROLINA 


Edited  by 

HENRY  M.  BELDEN 

and 

ARTHUR  PALMER  HUDSON 


DURHAM,  NORTH  CAROLINA 

DUKE     UNI\'ERSITY     PRESS 
1952 


COPYRIGHT,    1952,   BY  THE  DUKE  UNIVERITY   PRESS 

Caiiibridyc  i'liiz'crsity  Press,  Lu)idoii,  X.W.  1,  Eiiylaiid 


PRINTl'.l)   IN     Till',    rxill'-.l)  STATICS  oi-    AMl'KICA    HV 
Till':    SICK.MAN     l'Ul.\TI':kV.     INC..     DIKIIAM,     N.     C. 


CONTENTS 

Fork  WORD  xxiii 

AhHRKNIATIONS   L'sKI)   in    HkADNOTKS  XXV 

IXTRODrCTION  :    Soxc.s  3 

I.  COURTING  SONGS  4 

1.  A  Paper  of  Pins  6 

2.  Madam.  Will  Vou  Walk?  9 

3.  The  Courting  Cage  10 

4.  Madam  Mozelle.  I've  Come  Courting  13 

5.  Miss,  Will  You  Have  a  Farmer's  Son  ?  14 

6.  LuciNDv,  Won't  You  Marry  Me?  14 

7.  Soldier.  Soldier.  Won't  You  Marry  Me?  15 

8.  The  Quaker's  Wooing  16 
c).  The  Old  Man's  Courtship  i7 

10.  When  I  Was  a  Young  Girl  20 

-  II.  Where  Are  You  Going,  My  Pretty  Maid?  21 

12.  Madam,  I  Have  Gold  and  Silver  23 

13.  One  Morning  in  May  24 

14.  No,  Sir  25 

15.  Courting  Song  ^1 
i6.  Don't  Stay  after  Ten  28 

17.  1  Wouldn't  Marry  3° 

18.  A  Single  Life  3^ 

19.  When  I  W^as  Single  37 

n.  DRINK  AND  GAMBLING  SONGS  41 

20.  The  Drunkard's  Hell  42 

21.  The  Drunkard's  Doom  44 

22.  The  Drunkard's  Dream  (II  45 

23.  'l"nE  Drunkard's  Dream    (11)  48 

24.  Father.  Dear  Father,  Come  with  Me  Now  48 

25.  The  Drunkard's  Lone  Child  5° 

26.  Don't  Go  Out  Tonight.  My  Dari.inc;  51 

27.  Be  Home  Early  53 

28.  1  Wish  1  Was  a  Sin(;le  Girl  Again  54 

29.  Seven  Long  Years  I've  Been  Married  56 
.30.  The  Lips  That  Touch  Liquor  Must  Never 

Touch  Mine  57 

31.  I'm  Alone,  All  Alone  60 

32.  Old  Rosin  the  Beau  61 

—  33.  Little  Brown  Jug  62 
^4.  Pass  Around  the  Bottle  64 

61855  L 


Vni  CONTENTS 

35.  JuDiE  My  Whiskey  Tickler  64 

36.  I'll  Never  Get  Drunk  Any  More  65 

37.  Show  Me  the  Way  to  Go  Home,  Babe  67 

38.  Pickle  My  Bones  in  Alcohol  69 

39.  Sticks  and  Stones  May  Break  My  Bones  71 

40.  Just  Kick  the  Dust  over  My  Coffin  ^2 

41.  The  Hidden  Still  72 

42.  Moonshine  73 

43.  Old  Corn  Licker  74 

44.  Sal  and  the  Baby  74 
_  45.  Sweet  Cider  74 

46.  A  Little  More  Cider  Too  75 

47.  Sucking  Cider  Through  a  Straw  yj 

48.  Drinking  Wine  78 

49.  The  Journeyman  78 

50.  Jack  of  Diamonds  80 

51.  Shoot  Your  Dice  and  Have  Your  Fun  y^  81 

52.  I  Got  Mine  82 

HI.  homiletic  songs  83 

53.  When  Adam  Was  Created  83 

54.  Pulling  Hard  against  the  Stream  86 

55.  Paddle  Your  Own  Canoe  87 

56.  Why  Do  You  Bob  Your  Hair,  Girls?  88 

57.  Meditations  of  an  Old  Bachelor  88 

58.  The  Thresherman  89 

59.  You  Say  You  Are  of  Noble  Race  90 

60.  Who  Is  My  Neighbor?  91 

61.  Dying  from  Home  and  Lost  91 

62.  The  Wicked  Girl  92 

63.  A  Poor  Sinner  95 

64.  Advice  to  Sinners  95 

65.  Wild  Oats  96 

66.  You  Can  Run  on  a  Long  Time  97 

IV.  PLAY-PARTY  AND  DANCE  SONGS  99 

67.  Weevily  Wheat  100 

68.  Here  Comes  Three  Lawyers  ioi 

69.  Jennie  Jenkins  102 
-  70.  Oh,  Pretty  Polly  104 

71.  Don't  Cry  104 

72.  Here  We  Go  in  Mourning  105 

73.  Row  THE  Boat,  Row  the  Boat  106 

74.  The  Needle's  Eye  107 
y},.  The  Miller  Boy  108 
76.  In  and  Out  the  Window  108 
"jy.  Shoot  the  Buffalo  109 


C  O  N  T  K  N  T  S  IX 

78.  COFI-KK    ("iKOWS    ON     WlllTK    OaK      TrKKS  IIO 

79.  LlTTLK    FlCHT    IN    MkXUO  112 

80.  Pu;  IN  TiiK  I'aki.ok  113 

'   81.    BlFKAl.O    CiALS  1 14 

82.  Old  Dan  Tuckkk  114 

83.  Yonder  Comes  a  Georc.ia  (iiRi.  118 

84.  Captain  Jinks  119 

85.  Hop  Light.  Ladiks  119 

86.  Old  Joe  Clark  120 

87.  What's  the  Lady's  Motion?  124 

88.  The  Farmer's   Boy  125 

89.  Sally  Goodin  126 

90.  Doctor  Jones  127 

91.  She  Loves  Coffee  and  1  Love  Tea  128 

92.  I  Do  Love  Sugar  in  My  Coffee  O  129 

93.  Pop  Goes  the  Weasel  130 

94.  Turkey  in  the  Straw  130 

95.  We're  All  A-Singing  131 

96.  The  Dolly-Play  Song  131 

97.  Uncle  Joe  Cut  Off  His  Toe  132 

98.  Oh,  Lovely,  Come  This  Way  134 

99.  The  Duke  of  York  135 
too.  Fll  Tell  Your  Daddy  136 
loi.  I  Want  to  Go  to  Baltimore  136 

102.  Poor  Little  Laura  Lee  136 

103.  Darling,  You  Can't  Love  but  One  137 

104.  Page's  Train  Runs  So  Fast  138 

105.  Turkey  Buzzard  139 

106.  All  Around  de  Rin(;.  Miss  Jilie  140 

107.  Too  Young  to  Marry  140 

108.  Poor  Little  Kitty  Puss  141 

109.  Fare  You  Well.  My  Own  True  Love  142 

110.  Mr.  Carter  142 
Til.  Wish  I  Had  a  Needle  and  Thread  143 

V.  LULLABIES  AND  NURSERY  RHYMES  147 

T12.  Bye  Baby  Bunting  148 

T13.  Rock-a-Bye  Baby  in  the  Tree-Top  148 

T14.  Kitty  Alone  149 

T15.  Hush-a-Bye,  Don't  You  Cry  150 

_ii6.  Go  to  Sleep.  My  Little  Pickaninny  151 

117.  Poor  Little  Lamb  Cries  'Mammy  I'  152 

118.  Hush,  Honey,  Hush  153 

119.  Pitty  Patty  Poke  154 

120.  The  Fr()(;'s  Courtship  154 
Appendix  165 

TJi.   Billy  Boy  166 


618551 


VI 


c  o  x  t  e  x  t  s 

22.  Oh.  Dear.  What  Cax  the  Matter  Be?  170 

23.  Taffy  Was  a  Welshman  170 

24.  Barnyard  Song  172 

25.  McDonald's  Farm  174 

26.  Quack,  Ql\\ck,  Quack  177 

27.  The  Dogs  ix  the  Alley  177 

28.  Go  Tell  Auxt  Patsy  177 

29.  The  Fox  axd  the  Goose  178 

30.  The  Old  Womax  axd  Her  Pk;  181 

31.  Whex  I  Was  a  Little  Boy  182 
2^2.  Bobby  Shaftoe  183 
},2)-  The  Pretty  Pear  Tree  184 

34.  Jack-a-Maria  185 

35.  There's  a  Hole  ix  the  Bottom  of  the  Sea  186 

36.  JoHX  Browx  Had  a  Little  Ixjrx  186 
2>y.  Bixgo  187 

38.  Call  ]My  Little  Dog  187 

39.  The  Vowels  188 

40.  Banbury  Cross  188 

41.  Oh,  Mr.  Revel!  189 

42.  Old  Woman  All  Skix  axd  Boxes  189 

43.  What  Are  Little  Girls  ^L\nE  Of?  193 

44.  Neighbor  Joxes  I93 

45.  Whistlixg  Girls  axd  Crowixg  Hexs  194 

46.  Little  Birdie  ix  the  Tree  195 

47.  How  I  Love  the  Old  Black  Cat  195 

48.  Fve  Got  a  Master  axd  I  Am  His  ^L\N  196 

49.  The  Cobbler  196 

50.  Scotland's  Burning  I97 

51.  Steam  Ship  I97 

JINGLES  ABOUT  ANIMALS  198 

52.  Birds  Courting  I99 

53.  The  Jaybird  201 

54.  Redbird  and  Jaybird  202 

55.  Jaybird  Up  ix  the  'Simmox  Tree  203 

56.  Said  the  Blackbird  to  the  Crow  203 

57.  The  Crow  and  the  Weasel  205 

58.  Chicken  in  the  Bread  Tray  205 

59.  The  Old  Black  Hen  206 

60.  Get  Along,  John,  the  Day's  Work's  Done  206 

61.  Possum  Up  a  'Simmon  Tree  206 

62.  De  Possum  Am  a  Cuxninc;  Tiiixg  208 

63.  The  Raccoon  Has  a  Bushy    Taii.  208 

64.  De  Possim  Sits  on  'Simmox    Trek  209 

65.  Over  the  Hills  So  Far  Away  210 

66.  Rahbit  IX  the  Log  211 


C  ()  N  T  K  N  T  S  XI 

If),-.   Oi.ii  Mdi.i.v   Haki-:   (Mk.  Kaiuut)  2ll 

i()8.  'riiK  Rakhit  Skippki),  thk.  Rahhit  Hoi'pki)  213 

ifx).   Kahhit  Stoi.k  of.  Greens  214 

170.  I  r's  Ai  1.  XiciiT  I.o.Nc  214 

171 .  Mk.  Sni'iKRKi.  214 

172.  Till.  Weaski.  and  the  Rat  215 
17,V   Mole  in  the  (iROTNi)  215 

174.  The  Oi.I)  Cikev  Horse  Came  Tearinc    TiiRort.ii 

THE  Wilderness  216 

175.  The  Old  Grey  Mare  217 

176.  I  Had  a  Little  Horse  Whose  Name  Was  Jack  217 

177.  Mv  Old  Sow's  Nose  218 

178.  The  Old  Sow  218 
I7().  The  Kitten   Is  i-nder  the  Sod  219 

180.  The  Animal  Fair  219 

181.  The  Monkey  Married  the  Baroon's  Sister  219 
i8j.  The  Catfish  220 
18.V   Lri.r  222 

184.  Jonah   I'Tshinc;  for  a  Whale  223 

185.  Snake  Bakes  a  Hoecake  223 

186.  Row  THE  Boat  Ashore  224 

187.  I  Went  Down  to  the  Low  Ground  225 

188.  As  I  Went  Up  the  Silver  Lake  225 

189.  Way  Down  Yonder  in  Pasquotank  225 
i(;o.  Ninety-Nine  Blue  Bottles  226 
i()i.  A  Picnic  226 
i(j2.  Two  Little  Fleas  227 
i()3.  Went  to  the  River  and  I  Couldn't  Get  Across  22-j 

11.  WORK   SONGS  228 

104.  Old  Boi!  Ridley  229 

Kj;.  Jimmy  My  Riley  232 

i()6.  Sheei>  Shell  Corn  by  the  Rattle  of  His  Horn  233 

197.  Bu(;le,  Oh  !  234 

198.  Come  to  Shuck  Dat  Corn  Tonicht  234 

199.  De  Shuckinc.  OB  de  Corn  235 

200.  Shuck  Corn,  Shell  Corn  236 

201.  Round  It  Up  a  Heap  It  Up  237 

202.  corn-sliuckinc.  sonc  237 
20.^.    I" HE  Old  Turkey  Hen  238 

204.  Run.  Sallie,  My  Gal  238 

205.  Up  Roanoke  and  Dow  n  the  Rni.R  239 

206.  HiDi  QuiLi  LoDi  QuiLi  239 

207.  Here.  Jola,  Here  240 

208.  Come  away  from  That  Old  Man  240 

209.  Sally,  Molly.  Polly  241 

210.  Down  on  the  Farm  241 


Xll  CONTENTS 

211.  Negro  Cotton-Picker  243 

212.  Pickin'  Out  Cotton  243 

213.  The  Humble  Farmer  244 

214.  Boll  Weevil  Blues  245 

215.  Ole  Massa's  Going  Awav  247 

216.  The  Man  Who  Wouldn't  Hoe  His  Corn  247 

217.  The  Old  Chisholm  Trail  248 

218.  The  Duke  of  Buckingham  250 

219.  The  Wild  Ashe  Deer  250 

220.  Old  Blue  252 
-  221.  The  Ground  Hog  253 

222.  Fll  Fire  Dis  Trip  255 

223.  Hi  Yo  Boat  Row  256 
-^224.  We  Live  on  the  Banks  of  the  Ohio  256 

225.  A  Boat,  a  Boat.  Across  the  Ferry  257 

226.  Haul,  Haul,  Haul,  Boys  257 

227.  Old  Horse.  Old  Horse  258 

228.  For  Six  Days  Do  All  That  Thou  Art  Able  258 

229.  Alphabet  of  the  Ship  259 

230.  Whip  Jamboree  260 

231.  I  Have  a  Father  in  My  Native  Land  260 

232.  Sal's  in  the  Garden  Sifting  Sand  261 

233.  The  Heathen  Chinese  261 

234.  Working  on  the  Railroad  262 

235.  The  Little  Red  Caboose  Behind  the  Train  263 

-  236.  Reuben's  Train  264 

237.  If  the  Seaboard  Train  Wrecks  1  Got  a 

Mule  to  Ride  266 

238.  Seaboard  Air  Line  266 

239.  A  Southern  Jack  266 

240.  I  Been  a  Miner  267 

241.  Some  of  These  Days  and  It  Won't  Be  Long  267 

242.  I  Ain't  A-Gonna  Work  a  No  Mo'!  268 

243.  Roll  Down  Dem  Bales  0'  Cotton  268 

244.  I  Wish  My  Captain  Would  Go  Blind  268 

245.  Lavender  Girl  268 

246.  Run  Here,  Doctor,  Run  Here  Quick  269 

247.  The  Washtub  Blues  269 

VHI.  FOLK  LYRIC  270 

248.  The  Inconstant  Lovkr  271 

249.  The  Turtle-Dove  274 

250.  The  Wagoner's  Lad  275 

-  251.  SouRwooD  Mountain  279 

252.  Pretty  Saro  285 

253.  Old  .Smoky  287 

254.  Little  Sparrow  290 


C  ()  N  T  K  N  T  S  XIII 

255.  KlTlY    Kl.lNE  293 

256.  Al.I.  AkDINU  THE    MorNTAIX.   ClIAKMINC.    BkTSY  297 

257.  The  Buue-Eyed  Boy  298 

258.  The  False  Trie-Lover  299 

259.  I'l.i.  Hanc  My  Haki'  on  a  W'li.i.ow  Tree  304 

260.  Red  River  Valley  305 

261.  The  Slu;hteu  Sweetheart  306 

262.  The  Slic.hteu  Girl  3^8 
V  263.  The  Pale  Wildwood  Flower  309 

264.  Storms  Are  on  the  Ocean  311 

265.  There  Comes  a  Fellow  with  a  Derhy  Hat  313 

266.  Bury  Me  in  the  Garden  3^3 

267.  The  Weepinc.  Willow  314 

268.  Down  by  the  Weepinc.  Willow  Tree  317 
26y.  The  Gumtree  Canoe  3'^ 

^  270.  The  Indian  Hunter  3^9 

271.  Goodbye,  Little  Girl,  Goodbye  3^9 

272.  I'm  Tired  of  Living  Alone  320 

273.  Will  You  Love  Me  When  Fm  Old?  321 

274.  Goodbye,  My  Lover,  Goodbye  322 

275.  Somebody  323 

276.  You,  You,  You  325 

277.  Cold  Mountains  325 

-  278.  My  Home's  Across  the  Smoky  Mountains  326 

279.  Must  I  Go  to  Old  Virginia?  327 

280.  Red,  White,  and  Blue  328 

281.  Down  in  the  Valley  (Birmingham  Jail)  330 

282.  1  Sent  My  Love  a  Letter  33^ 

283.  In  the  Pines,  Where  the  Sun  Never  Shines  332 

284.  Bonnie  Blue  Eyes  334 

285.  The  Midnight  Dew  337 

-  286.  Fly  Around,  My  Blue-Eyed  Girl  339 

287.  Darling  Little  Pink  342 

288.  Billy  My  Darling  342 

289.  Seeing  Nelly  Home  343 

290.  Troubled  in  Mind  344 

291.  CoRNBREAi)  When  I'm  Hungry  34^ 

292.  Lonesome  Road  347 

293.  You  Lovers  All.  to  You  T  Call  34^ 

294.  When  First  I  Seen  This  Lovely  Queen  349 

295.  Sweet  Birds  350 

296.  Going  Back  West  'Fore  Long  353 

297.  You  Caused  Me  to  Lose  My  Mind  353 

298.  I  Wish  That  Girl  Was  Mink  353 

-  299.  Cripple  Creek  354 
300.  My  Martha  Ann  355 


xiv  contexts 

301.  High-Topped  Shoes  355 

302.  Who's  GoxNA  Love  You,  Honey?  t,^j 

303.  Oh.  Where  Is  My  Sweetheart?  357 

304.  Like  an  Owl  in  the  Desert  359 

305.  The  Lonesome  Dove  359 

306.  By  By,  My  Honey  360 

307.  I  Love  Little  Willie,  1    Do,  AIamma  361 

308.  The  Lords  of  Creation  363 

309.  Poor  ^L\RRIED  ^L\N  364 
-310.  The  Black-Eyed  Daisy  366 

311.  Black-Eyed  Susie  366 

312.  A  Housekeeper's  Tragedy  367 

313.  Kissing  Song  368 

314.  My  Mammy  Don't  Love  Me  369 

315.  I  Wondered  and  I  Wondered  370 

316.  M\'  Mammy  Told  Me  370 

317.  Oh.  Honey,  Where  You  Been  So  Long?  371 

318.  Away  Out  On  the  Mountain  371 

319.  The  Garden  Gate  372 

320.  Susy  Gal  ^j2 

321.  JosEPHus  and  Bohunkus  372 
~  322.  Leather  Breeches  374 

22T).  Old  Aunt  Katy  375 

324.  Kindling  Wood  376 

325.  Mother,  AL\y  I  Go  Out  to  Swim?  376 

326.  River's  Up  and  Still  A-Rising  376 

327.  Little  Brown  Hands  377 

IX.  SATIRICAL  SONGS  378 

328.  The  Carolina  Crew  380 
^^  329.  Cumberland  Gap  381 
-330.  Arkansas  Traveler  (I)  381 

~^  331.  Arkansas  Traveler  (II)  382 

332.  Hard  Times  385 

333.  The  Dodgers  387 

334.  Calomel  389 

335.  Twenty  (Forty,  Sixty)  Years  Ago  390 

336.  If  You  Want  to  Go  A-Courtin'  393 

337.  When  Young  Men  Go  Courting  394 

338.  Johnson  Boys  394 
—  339.  Leave  for  Texas.  Leave  for  Tennessee  395 

340.  The  Wood  Hauler  397 

341.  Walk  in  the  Parlor  399 

342.  Preacher  in  the  Pulpit  403 

343.  Preacher's  in  de  Pulpit  403 

344.  Wait  on  de  Lord  404 

345.  I  Never  Will  Turn  Back  Any  More  404 


409 
410 
411 


430 


(■  (I  N  T  K  NTS  XV 

346.  JOXAII    AM)  TlIK    W'llAl.K  4O5 

347.  jKsrs  LuvKK  OF  My  Soil.  408 

348.  Boh  Ix(;kr.s()i.i.  an'd  the  1)i:\ii.  408 
34c>.   I.oKi).  1  Nkvkk  Wii.i.  C'uMK  Back  Hkkk  No  Mo' 

X.  SONGS  OF  PRISONERS  AND    IRAMI'S 
-    350.  Thk  Prisoner's  Sonc. 

->  351.  Seven  Lonc;  Years  416 

^352.  Twenty-One  Years  Is  a  Mighty  Lonc  Time  417 

353.  Write  My  xMothek  I'll  Be  Home  418 

—354.  Durham  Jail  419 

355.  Moonshiner's  Dream  420 

356.  jNIay  I  Sleei'  in  Your  Barn  Tonicut,  Mister?  420 

357.  The  Tramp  Song  423 

358.  Tale  of  a  Tramp  425 

359.  The  Wild  and  Reckless  Houo  426 

360.  The  Dying  Hobo  427 

361.  Waiting  for  a  Train  428 
36J.  Banjo  Tramp  429 

363.  Hand  Me  Down  My  Walking  Cane 

364.  I  Lay  Around  the  Old  Jail  House 

(John  C.  Britton  )  431 

365.  The  Foggy  Mountain  Top  433 

XL  MARTIAL.  POLITICAL,  AND  PATRIOTIC  SONGS      434 

366.  The  Rolling  Neuse  436 

367.  The  Jolly  Soldier  437 

368.  Flora  MacDonald's  Lament  437 

369.  The  Rambling  Soldier  439 

370.  Then  We'll  Have  a  New  Convention  440 

371.  Colonel  Harry.  He  Was  Scared  441 

372.  Root  Hog  or  Die  441 

373.  Harness  up  Yo'  Hosses  442 

374.  The  Southern  Wagon  443 

375.  Red.  White,  and  Red  444 

376.  The  Soldier's  Farewell  447 

377.  Early  One  Morninc;  in  the  Month  of  July  449 

378.  John  Brown's  Body  449 

379.  The  Bonny  Blue  Flag  451 

380.  The  Homespun   Dress  453 

381.  Pretty  Peggy  456 

382.  Never  Mind  Your  Knapsack  457 

383.  Bushwhacker's  Song  458 

384.  Deserter's  Song  459 

385.  Come,  Rain,  Come  460 

386.  Sorghum  Molasses  460 

387.  Jeff  Davis  Rode  a  White  Horse  461 

N.C.F..  VoL  III,   (2) 


xvi  contents 

388.  Old  Abe  Is  Sick  462 

389.  The  Privates  Eat  the  Middlin'  462 

390.  When  This  Cruel  War  Is  Over  462 

391.  The  Good  Old  Rebel  464 

392.  The  Veteran's  Song  467 

393.  Brother  Green  468 

394.  He  Never  Came  Back  470 

395.  Goodbye,  My  Blue  Bell  471 

396.  Soldier's  Epitaph  472 

397.  Tippecanoe  472 

398.  Does  Your  Mother  Know  You're  Out?  473 

399.  Uncle  Sam's  Farm  474 

400.  The  Sweet  Sunny  South  475 

401.  Blue  Ridge  Mountain  Blues  476 
-''-402.  The  North  Carolina  Hills  477 

403.  The  Hills  of  Dan  478 

XII.  BLACKFACE  MINSTREL  AND  NEGRO  SECULAR 

SONGS  480 

— 404.  Cindy  482 

405.  Dearest  Mae  485 

406.  Massa  Had  a  Yaller  Gal  487 

407.  Nelly  Bly  488 

408.  Oh,  Susanna  !  488 

409.  Nancy  Till  491 

410.  Miss  Julie  Ann  Glover  492 

411.  Kitty  Wells  492 

412.  Ella  Rhee  494 

413.  Clare  de  Kitchen  494 

414.  Jim  Crack  Corn  496 

415.  Lynchburg  Town  498 

416.  My  Long  Tail  Blue  502 

417.  My  Ole  Mistus  Promised  Me  502 

418.  Old  Zip  Coon  503 

419.  Camptown  Races  504 

420.  Uncle  Ned  505 

421.  Way  Down  on  the  Old  Peedee  506 

422.  Shinbone  Alley  50/ 

423.  Some  Folks  Say  that  a  Niggkk  Won't  Steal  508 

424.  The  Happy  Coon  510 

425.  The  Preacher  and  the  Bear  511 

426.  I  Was  Born  About  Ten  Thousand  Years  Ago  512 

427.  Have  a  Little  Banjo  Beating  514 

428.  The  Traveling  Coon  515 

429.  The  Voodoo  Man  516 

430.  Ain't  Gonna  Rain  No  More  517 
43T.  Ain't  Got  to  Cry  No  More  519 


C  ()  N  T  K  N  T  S 


xvn 


43-'- 
433- 
434- 
435- 
436. 
437- 
438. 

439- 
440. 

441- 
44-'- 
443- 
444- 
445- 
446. 

447- 
44H. 
44<)- 
450. 

451- 
45-'- 

453- 
454- 
455- 
456- 
•-  457- 
458. 

459- 
460. 
461. 
462. 

463. 
464. 
465. 
466. 
467. 
468. 
469. 
470. 

471- 
472. 
473- 
474- 
475- 
476. 


BdlL     TlIKM    t"Al!l'.A(;K    DoWN 

Broder  Eton  (ior  dk  Coon 

Chicken 

The  Dummy  Line 

Eliza  Jane  (1) 

Eliza  Jane  (II) 

Everyhody's  Gal  Is  I\Iy  Gal 

Go  'Way  from  My  Window 

Here  Lies  de  Body  uv  To'  Little  Ben 

'm  Going  Down  the  Road  Feeling  Bad 
Could'n  Live  Bedoit  de  Flowers 

'd  Rather  Be  Dead 

F  \ov  Want  to  Go  to  Heaven 
Had  a  Banjo  Made  of  Gold 

F  You  Meet  a  Woman  in  the  Morning 

F  You  Don't  Believe  I'm  Sinking 
Got  a  Girl 

'm  Gwine  Away  to  Georgia 

iiE  Yaller  Gal 

Went  Down  to  My  Gul's  House  Las'  Night 
Mama  Don't  Allow  No  Low  Down  Hanging 

Around 
Negro  Yodel  Song 
Oh,  Dat  Watermilion 
One  More  River  to  Cross 
Po'  Liza  Jane 
Run,  Nigger,  Run 
Sally  Went  to  Preachin' 
Saturday  Night  and  Sunday  Too 
She'll  Be  Cominc;  'Round  the  Mountain 
Siiort'nin'  Bread 
Sing  Polly  Wolly  Doodle 
Stick  My  Head  in  a  Paper  Sack 
That's  W'here  My  Money  Goes 
I' HERE  Was  a  Watermelon 
Train  .  .  .  Run  So  Fast 
Two  Little  Niggers  Black  as  Tar 
Watermelon  Hanging  on  the  Vine 
Way  Down  Yonder  on  Cedar  Street 
W'HAT  You  Gwina  Do  WhEx\  the  World's  on  I-'ike 
Jig(;er,  Rigger,  Bumho 
Guinea  Negro  Son(; 

WlMTF.    l-'oLKS    Go   TO    CoLLKGE 

Cold  Frosty  Morninc; 

Hung  My  Bucket  on  de  White  I'oi.ks'  Fence 

White  Folks  in  the  Parlor 


519 
519 
520 

521 

522 
522 
523 
523 
523 
524 
524 
525 
525 
525 

5^6 
526 

527 
527 
527 
528 

528 
529 
529 
530 
530 
531 
533 
533 
534 
535 
538 
538 
539 
539 
539 
540 
540 
541 
541 
542 
542 
343 
543 
544 
544 


xviu  contents 

477.  W'hitk  Gal,  Yaller  Gal,  Black  Gal  544 

478.  You  Shall  Be  Free  547 

479.  Old  Bee  Makes  de  Honey  Comb  548 

480.  Hard  Times  549 

481.  Don't  Like  a  Rich  White  Man  Nohow  549 

482.  Sugar  Babe  550 

483.  Rich  Man  Rides  on  a  Pullman  Car  551 

484.  I  Don't  Like  a  Nigger  551 
^-485.  Shady  Grove  552 

486.  Fair  Brown  553 

487.  Old  Aunt  Dinah  554 

488.  Apple  Sauce  and  Butter  554 

489.  When  I  Die  Don't  Wear  No  Black  554 

490.  Rain  Come  Wet  Me  555 

491.  We'll  Have  a  Little  Dance  Tonight.  Boys  555 

492.  Way  Down  Below  555 

493.  Railroad  Dinah  Gal  556 

494.  If  I  Had  It  You  Could  Get  It  556 

495.  If  I  Die  in  Tennessee  557 

496.  JiNGER  Blue  557 

497.  Mammy  in  the  Kitchen  558 

498.  I've  Bin  to  the  'Bama  and  I  Just  Got  Back  558 

499.  Raise  a  Ruckus  Tonight  558 

500.  Georgia  Buck  560 

501.  You've  Got  Your  Big  Gun,  and  I've  Got  Mine  562 

502.  Went  Down  Town  562 

503.  Standing  on  de  Street  Doin'  No  Harm  562 

504.  A  Thirty-Two  Special  on  a  Forty-Four  Frame  562 

505.  The  California  Blues  563 

506.  Oh  !  When  a  Man  Get  the  Blues  563 

507.  I  Got  de  Hezotation  Stockings  and  de 

Hezotation  Shoes  564 

508.  It's  Raining  Here  564 

509.  Nigger  in  the  Woodpile  565 

510.  Share  'Em  5^5 

511.  The  Preacher  Song  5^5 

512.  Johnson's  Mule  566 

513.  The  Kicking  Mule  567 

514.  The  Billy  Goat  568 

XIII.  RELIGIOUS  SONGS  57° 

515.  The  Cumberland  Traveller  573 

516.  The  Great  Round-Up  573 

517.  Some  of  These  Days  574 

518.  Long  White  Robe  575 

519.  There's  a  Little  Hand  Writinc;  on  the  Wall  576 

520.  Ananias  57^ 


C  O  N  T  K  N  T  S  XIX 

521.    I'm-.  (iosPKi.  1*001.  578 

322.    A   I'llARC.K  TO  Kkk.i'  579 

523.  C'rkation  580 

324.   Daniki.  in  thk  Lion's  Dkn  581 

^2=,.  Departki)  Loved  Onks  583 

526.  Dark  Was  thk  Nicht  584 

=,2~.  Don't  (Ikikak  aktkr   Mk  585 

528.  Drooi'1N(;  SoLi.s,  Xo  Lonckr  CiRiKVK  586 

529.  The  Gosi'Ei.  Train  588 
5,^0.  Hicks'  Farewell  589 
5,^1.   1 1'  Yov  Oet  There  Before  1   Do  591 

332.  I'm  Bol'n'  to  Cross  the  Jordan  591 

333.  1  Am  Going  to  Heaven  592 

334.  In  the  V^allev  592 
333.   I've  Got  a  Brother  in  the  Snow-White  Fields  593 

336.  Jacob's  Ladder  594 

337.  Jesus  Born  in  Bethlehem  595 

338.  John  Saw  the  Holy  Number  596 

339.  John  Saw  de  Hundred  and  Forty-Four  Thousand  597 
540.  Johnny  Was  a  Baptist  597 

341.  The  Little  Black  Train  598 

342.  The  Lone  Pilgrim  S99 

543.  Mary  Wore  Three  Links  of  Chain  600 

544.  Noah's  Ark  601 

545.  Pharaoh's  Army  602 

546.  Oh,  They  Put  John  on  the  Island  604 

547.  Rock  of  Ages  605 

548.  There  Is  No  Place  in  the  Height  of  Heaven  605 

549.  Ain't  Goin'  to  Worry  My  Lord  No  More  606 

550.  All  God's  Chillun  Got  Shoes  607 
351.  All  My  Sins  Been  Taken  Away  608 

332.  Angels  Roll  Dem  Stones  Away  609 

333.  As  I  VV^ENT  Down  in  the  Valley  to  Pray  610 
534.  Babe  of  Bethlehem  612 
333.  Baptist,  Baptist  Ls  My  Name  612 
336.  Bye  and  Bye  613 

537.  Cain  and  Abel  613 

538.  Can't  Cross  Jordan  613 

539.  Christ  Was  a  Weary  Traveler  614 
560.  City  of  Refuge  615 
361.  Come  All  ^'ou  Friends  and  Neighbors  616 

562.  Come,  Thou  Fount  of  Every  Blessing  616 

563.  Dar'll  Be  No  Distinction  Dar  617 

564.  Didn't  It  Rain?  617 
563.  An  English  Orphan  618 
:;66.  Down  hv  dk  Ribhersioe  619 


CONTENTS 


567. 
568. 

569- 
570. 

571- 
S7^- 
573- 
574- 

575- 
576. 

577- 

578. 

579- 
580. 

581- 
582. 
583. 
584. 

585- 
S86. 


589. 
590. 

591- 
592. 
593- 
594- 
595- 
596. 
597- 
598. 

599- 
600. 
601. 
602. 
603. 
604. 
605. 
606. 
607. 
608. 
609. 
610. 


GwiNK  Down  to  Jordan  620 

God  Is  at  de  Pulpit  620 

Going  to  Heaven  by  the  Light  of  the  Moon  621 

Go  Down,  Moses  621 

Golden  Slippers  622 

Good  News — Chariot's  Comin'  623 

Good  Lordy,  Rocky  My  Soul  623 

Good  News  Coming  from  Canaan  624 

Go  Wash  in  the  Beautiful  Stream  624 

GwiNE  DOWN  Jordan  624 
Hear  That  Rumbling  (I  Heard  a  Mighty 

Rumbling)  625 

He  Never  Said  a  Mumbling  Word  626 

Heaven  Is  a  Beautiful  Place  627 

Hush,  Little  Baby  629 

I  Am  Bound  for  the  Promised  Land  629 

I  Am  Going  Where  the  Blood  Flows  Stronger  630 

I  Belong  to  That  Band  631 

I  Don't  Love  Old  Satan  631 

I  Don't  Sing  Like  I  Used  to  Sing  632 

I  Do  Wonder  Is  My  Mother  on  That  Train  632 

I  Got  de  Key  of  de  Kingdom  634 

I  Have  Long  Since  Been  Learned  634 

I  Am  Standing  in  the  Shoes  of  John  635 
I  Don't  Know  When  Old  Death's  Gwine 

ter  Call  Me  635 

I'm  Goin'  to  Ride  in  Pharaoh's  Chariot  636 

I  Mean  to  Go  to  Heaven  Anyhow  636 

Indian  Song:  Ah,  Pore  Sinner  637 

I  Picked  My  Banjo  Too  637 

I'sE  Gwine  Land  on  Dat  Shore  638 

I  Shall  Not  Be  Blue  639 

It's  Good  fuh  Hab  Some  Patience  640 

I  Wanter  Jine  de  Ban'  640 

I  Was  Once  in  a  Dark  and  Lonesome  Valley  641 

I  Wonder  as  I  Wander  641 

Jekkel  Walls  642 

Jesus  Christ  I  Want  to  Find  643 

Jesus  Says,  'You  Goes  and  I  Goes  W'id  Vou'  643 

John  He  Baptized  Jesus  644 

John  Jasper  644 

Judgment  Day  Is  Comin'  646 

Lily  White  Robe  646 

Little  David  647 

Little  David,  Play  ox  \ov\i  Harp  647 

The  Little  Family  648 


c  o  n  t  f.  n  t  s  xxi 

6ti.    Makv  How  ki)  652 

(MJ.    MosKs  Smotk  thk  W'atkrs  653 

()i,v   Am)  MrsT  I  Be  to  Juihimk.nt   Duoiciit?  653 

O14.    The  New  Buryinc;  Ground  653 

615.  Nobody  Knows  655 

616.  No  Hiuin'-Place  655 

617.  No  More!  No  More!  657 

618.  Oh,  I  Used  to  Drink  Beer  657 

619.  Oh,  Lord,  I'se  Stepping  Higher  658 

620.  Oh,  Heavens  Shut  the  Gates  on  Me  658 

621.  O  Lord,  Won't  You  Come  by  Here?  658 

622.  Oh,  See  My  Father  Layin'  Tiikkk  658 

623.  The  Old  Ship  of  Zion  659 

624.  Old  Satan's  Mad  661 

625.  One  of  Tonight  663 

626.  On  a  Dark  and  Doleful  Night  664 

627.  Our  Fathers  They'll  Be  There  665 

628.  Poor  Old  Lazarus  665 

629.  Red  Sea  666 

630.  Rolled  the  Stone  Away  666 

631.  Roll.  Jordan,  Roll  667 

632.  Rough,  Rocky  Road  668 

633.  Shout  Along  and  Pray  Along  668 

634.  Somebody's  All  de  Time  Talkin'  'bout  Me  669 

635.  Somebody's  Knockin'  at  Your  Door  669 

636.  Soon  as  My  Foot  Struck  Zion  670 

637.  Standing  in  the  Need  of  Prayer  671 

638.  Sweet  Heaven  672 

639.  Talk  About  Jesus  673 

640.  That  Old  Time  Religion  674 

641.  There's  a  Little  Wheel  A-Ti'rning  675 

642.  Through  the  City  Where  He  Rose  675 

643.  Tossed  and  Driven  676 

644.  Tree  in  Paradise  676 

645.  Two  White  Horses  Side  by  Side  678 

646.  Way  Over  in  the  Promised  Land  678 

647.  We  Are  ^L\rching  On  679 

648.  \\'e  Have  Loved  Ones  Over  Yonder  679 

649.  What  You  Gon'er  Do  That  Day?  680 

650.  We'll  Roll  the  Old  Chariot  Along  680 

651.  We'll  Sail  Away  to  Heaven  681 

652.  When  I  Was  Lost  in  the  Wilderness  682 

653.  When   tfie  World  Is  on  Fire  682 

654.  Where  My  Lord  Went  to  Pray  683 

655.  What  Kind  of  Crowns  Do  the  Angels  Wear?  683 

656.  Wrestlix'  Jacob  684 


xu  contents 

657.  'Zekiel'll  Weep  and  'Zekiel'll  Moan  685 

658.  Cherokee  Hymn  685 

Index  687 

Contributors  to  X'olumes  II  and  III  704 

Supplementary  List  of  Contributors  710 


ILLUSTRATIONS 

Herb  Gatherers  frontispiece 

Cotton  Pickers  /'"'"'//  pcf/'-^  244 

Cypress  Knees  page  409 

Sorghum  Boiling  facing  page  460 

Fishing  in  the  Creek  facing  page  600 


FOREWORD 

T  TOLI'MI'^  II  has  a  l^rcword  for  both  the  Ballads  and  the 
^  Songs.  In  the  present  volume  of  Songs.  Nos.  1-327  are 
edited  by  Professor  Helden  ;  the  remaining  Songs,  Nos.  328  to 
658,  by  F^rof  essor  I  ludson. 

Plere  it  is  proper  to  add  only  that  as  the  work  of  printing 
has  progressed  a  few  irregularities  have  been  noted  and  cor- 
rected, though  doubtless  others  still  remain.  Dr.  Schinhan  tells 
me.  moreover,  that  he  will  have  additional  te.xts.  taken  from 
phonograph  records,  which  were  not  available  to  the  present 
editors,  but  which  will  be  printed  in  volume  I\'.  He  will  also 
have  there  some  tunes  for  the  Games  described  in  volume  I. 

We  can  say  now.  with  my  Lord  Chancellor.  Francis  Bacon: 
"Nothing  is  finished  till  all  is  finished."  In  the  fifth  volume 
we  hope  to  gather  the  loose  threads  together  for  a  final  rejjort. 

r.F.B. 


A  J]  H  R  E  V  1  A  r  IONS 

USED    IN    THE    HEAUNOTES 


ABFS  American  Ballads  and  Folk  Songs.     By  John  Avery 

Loniax  aiul  Alan  Loniax.     New  York,  1^34. 

ABS  .liiicricaii    /-lalUuls    and    Songs.      By    Louise    I'ound. 

New  \'ork,  |  1922 j. 

AMS  .hncrican  Mountain  Songs.     By  Ethel  Park  Richard- 

son and  Signiund  Spaeth.     New  York.  [1927]. 

ANFS  American  Xegro  Folk-Songs.     By  Newman  I.  White. 

Cambridge   [Mass.],   1928. 

APPS  The  American  Play-Farty  Song.     By   Benjamin  A. 

Botkin.     Lincoln,  Nebraska,  1937. 

AS  American  Speech.     Baltimore,   1926 — . 

ASb  The  American  Songbag.     By  Carl   Sandburg.     New 

Y'ork,  [1927]. 

Barry  Folk  Songs  of  the  Xorth  Atlantic  States.     By  I*hil- 

lips   Barry.      Boston,    1908.     Mimeographed. 

BBM  British    Ballads    from    Maine.      By    Phillips    Barry, 

Fannie  H.  Eckstorm,  and  Mary  W".  Smyth.  New 
Haven,  1929. 

BFSSNE  Bulletin  of  the  Folk-Song  Society  of  the  Xortheast. 

Cambridge  [Mass.],  1930-37. 

BKH  Ballads  of  the  Kentucky  Highlands.     By  Henry  Har- 

vey Fuson.     London,  1931. 

BMFSB  Tiventy-Xine  Beech  Mountain  Folk  Songs  and  Bal- 

lads. By  Mellinger  Henry  and  Maurice  Matteson. 
New  Y'ork,  1936. 

Botkin  See  APPS. 

BSI  Ballads  and  Songs  of  Indiana.    By  Paul  G.  Brewster. 

Bloomington,  Indiana,  1940. 

BSM  Ballads  and  Songs  Collected  by  the  Missouri  Folk- 

Lore  Society.  By  H.  M.  Belden.  Columbia,  Mis- 
souri, 1940. 

BSO  Ballads  and  Songs  from  Ohio.     By   Mary   O.   Eddy. 

New  Y^ork,  [1939]. 

BSSB  Ballads  and  Songs  of  the  Shanty-Boy.     By   Franz 

Rickaby.     Cambridge  [Mass.],  1926. 


XXVI  ABBREVIATIONS 

BSS]\I  Ballads  and  Songs  of  Southern  Michigan.     By  Eme- 

lyn  E.  Gardner  and  Geraldine  J.  Chickering.     Ann 
Arbor,  1939. 

BSSN  Ballads   and   Sea    Songs   from    Xe-ivfoitudland.      By 

Elizabeth    Greenleaf    [and]    Grace    Y.    Mansfield. 
Cambridge  [Mass.],  1933. 

BSSNS  Ballads  and  Sea  Songs  from  Xoz'a  Scotia.     By  W. 

Roy   MacKenzie.     Cambridge   [Mass.],   1928. 

BTFLS  Bulletin  of  the  Tennessee  Folklore  Society.     Mary- 

ville,  Tenn.,  1935 — . 

CFLQ  California  Folklore  Quarterly.     1942 — . 

Christie  Traditional    Ballad   Airs.      By    W.    Christie.      Edin- 

burgh, 1 876- 1 88 1.     2  vols. 

CS  Cowboy  Songs  and  Other  Frontier  Ballads.     By  J.  A. 

Lomax  and  Alan  Lomax.     New  York,  1938.     (In 
a  few  cases  the  earlier  edition,  1910,  is  cited.; 

CSV  Country  Songs  of  Vermont.     By  Helen  H.  Flanders 

[and]  Helen  Norfleet.     New  York,  [1937]. 

DD  DeviVs  Ditties.     By  Jean  Thomas.     Chicago,  193 1. 

Dean  Flying  Cloud  and  One  Hundred  and  Fifty  Other  Old 

Time  Songs  and  Ballads.     By  M.  C.  Dean.     Vir- 
ginia, Minn.,  n.d. 

DESO  Dozvn-East     Spirituals,    and    Others.       By     George 

Pullen  Jackson.     New  York,   [1943]. 

ECS  English   County   Songs.      By    Lucy    Broadwood   and 

J.  A.  F.  Maitland.     London,   1893. 

ETSC  English    Traditional    Songs    and    Carols.      By    Lucy 

Broadwood.     London,  1908. 

ETWVMB       East    Tennessee    and     Western     Virginia     Mountain 
Ballads.     By  Celeste  P.  Cambiaire.     London,  1935. 

FB  Frontier  Ballads.     By  Charles  J.  Finger.     New  York, 

1927. 

Ford  Traditional   Music    of   America.      By    Ira    W.    Ford. 

New  York,   1940. 

FSA  Folk-songs    of    America.      By    Robert    W.    Gordon. 

National  Service  Bureau,  1938. 

FSE  Folk-Songs  of  England.     Ed.  Cecil  J.  Sharp.     Books 

L  H,  HL  IV.  \',  various  editors.    London,  1908-12. 

FSF  Folksongs  of  Florida.     By  Alton  C.  Morris.     Gaines- 

ville. 1950. 
FSKH  Folk-Songs     from     the     Kentucky     Highlands.       By 

Josiah  H.  Combs.     New  York,  1939. 


A  B  H  R  K  \-  I  A  T  IONS 


Bv    Maud    Kar- 


Hv  E\a\se  Huh- 


By 
1939- 


J.  P. 


Mel- 


I''SKM  Folk-Soiigs  of  the   Kciitiichy  Momitdiiis.     By  Jose- 

phine McGill.     New  \*ork.  |  1917]. 

FSM  Folksongs  of  Mississif^pi  and  Their  Background.     By 

Artluir  Palmer  Hudson.     Chapel  Hill.  N.  C".,  1936. 

FSMEU  I'olk-Songs  du  Midi  dcs  f:iats-l'nis.      By  Josiah    II. 

(.'()ml)s.     Paris,  1925. 

I-"Sm\\\'  I-olk-Songs   Mainly  front    West    I'irginia.      By    John 

H.  Cox.     National  Service  Bureau  of  the  Federal 
Theatre   Project.     W.P.A.     New   York.   1939. 

FSN  I'olfc    Songs   from    Xcwfonudland. 

peles.     [London],  1934. 

FSONE  Folk  Songs  of  Old  New  Fngland 

hard  Linscott.     New  York.  1939. 

FSRA  Folk-Songs    of    Roanoke    and    the    Albemarh 

Louis  \V.   Chappell.     Alorgantown,   W.    \'a. 

FSS  Folk-Songs  of  the  South.     By  John  Harrington  Cox. 

Cambridge  [Mass.],  1925. 

FSSC  Franklin  Square  Song  Collection.     Selected  bv 

McCaskey.     New  York.  1881-1891.     8  vols.' 

FSSH  Folk-Songs  from  the  Southern  Highlands.     By 

linger  E.  Henry.     New  York,  [1938]. 

FSSom  Folk-Songs  from  Somerset.     By  Cecil  J.  Sharp  and 

C.  L.  Marson.     London,  1904-1909. 

FSUT  Folk  Songs  of  the  Upper  Thames.     By  Alfred  Wil- 

liams.    London,   [1923]. 

FSV  Folk-Songs  of   Virginia.  A   Descripti7-e   Indc.v.   .   .   . 

By  Arthur  Kyle  Davis.  Jr.     Durham,  N.  C.  1949. 

FTM  Folk    Tunes  from   Missi.';sippi.      By   Arthur    Palmer 

Hudson  and  George  Herzog.  National  Play  Bureau 
Publication  No.  25.     July  1937. 

GGMS  A    Garland   of   Green    Mountain    Song.      By    Helen 

Hartness  Flanders.     Boston,  1934. 

Gomme  The   Traditional   Games   of  Fngland.   Scotland,  and 

Ireland.    By  Alice  Bertha  Gomme.     London.  1894- 
1898. 

GSAC  Games  and  Songs  of  American  Children.     By  Wil- 

liam   Wells    Newell.      New    York.    1883:    new    and 
enlarged  ed.,  1903.  191 1. 

Halliwell  The    Xursey    Rhymes   of   England.      By    James    Or- 

chard Hal  li  well.     London,  1842. 

HFLB  Hoosier  Folklore  Bulletin.     Bloomington.  Ind..   1942- 

45.    Thereafter:  Hoosier  Folklore. — HFL. 

JAFL  Journal  of  American  Folklore.     1888 — . 


XXVlll  ABBREVIATIONS 

JEFDSS  The  Journal  of  the  English   Folk  Dance  and  Song 

Society.    London,  193 1 — .     Successor  to  JFSS. 

JFSS  The    Journal    of    the    Folk-Song    Society.      London, 

1899-1931. 

JISHS  Journal    of    the    Illinois    State    Historical    Society. 

Springfield,  1908 — . 

LL  Last  Leaves  of  Traditional  Ballads  and  Ballad  Airs. 

By   Gavin    Greig   and   Alexander    Keith.      [Aber- 
deen], 1925. 

LT  Lonesome   Tunes.     Folk   Songs  from    the   Kentucky 

Mountains.       By    Loraine    Wyman    and    Howard 

Brockvvay.     New  York,  [1916]. 
MAFLS  Memoirs   of   the   American    Folklore   Society.      No. 

xxix  is  'Folk-Lore   from  Iowa,'  by  Earl  J.  Stout, 

1936. 
Mason  Nursery    Rhymes   and    Country    Songs.      By    M.    H. 

Mason.     London,  1877. 
McLendon        A    Finding   List   of  Play-Party   Games.      By   Altha 

Lea  McLendon,  SFLQ  viii   (1944).  201-34. 
MLN  Modern  Language  Notes.     Baltimore,  1886 — . 

MM  Minstrelsy  of  Maine.     By  Fannie  H.  Eckstorm  and 

Mary  W.  Smyth.     Boston,  1937. 
MMP  Mountain  Minstrelsy  of  Pcnnsyh'ania.    By  Henry  W. 

Shoemaker.      Philadelphia,    1931.      A    revision    of 

NPAL 
MSHF  More  Songs  of  the  Hill  Folk.     By  John   J.   Niles. 

New  York,  [1936]. 
MSNC  Mountain  Songs  of  North    Carolina.     By   Marshall 

Bartholomew  and  Susannah  Wetmore.    New  York, 

1926. 
MWS  Maine  Woods  Songster.     By  Phillips  Barry.     Cam- 

bridge [Mass.],  1939. 
Newell  See  GSAC. 

NGMS  The    Nezu    Green    Mountain    Songster.      By    Helen 

Hartness    Flanders,    Elizabeth    Flanders    Ballard, 

George  Brown,  and  Phillips  Barry.     New  Haven, 

1939- 

Northall  English  Folk-Rhymes.     By  G.  E.  Northall.     London, 

1892. 

NPM  North  Pennsylvania  Minstrelsy.    By  Henry  W.  Shoe- 

maker.    2nd  ed.,  Altoona,  Pa.,  1923. 

NS  The  Negro  and  His  Songs.     By  Howard  W.  Odum 

and  Guy  B.  Johnson.     Chapel  Hill,  N.  C,  1925. 


I?  R  K  V  1  A  T  I  {)  N  S 


XWS  Xcyro  Workitihiy  Songs.     By  Howard  W.  Odum  and 

Guy  B.  Joliiison.     Chapel  Hill.  N.  C,  1926. 
NYFLQ  Xew   )'ork  h'olklorc  Quarterly.     1945 — . 

OASPS  I'lic    Ociirkw:    .hi    American    Survival    of   Primitive 

Society.     By  Vance   Randolph.      New   York,   1931. 
OFS  Ocark    I'olksongs.      Collected    and    edited    by    Vance 

Randolph.     Columbia.  Mo.,  1946,  1948,  1949.  1950. 

4  vols. 
OIFMS  Old   Irish    lu>lk   Music   ami  Songs.      By    I'atrick    \V. 

Joyce.     London.  1909.     3  parts. 

OAH""  Ocark  Mountain  Folk.     By  Vance  Randolph.     New 

York,  1932. 

lOoEFS  One    Hundred   English    Folk    Songs.      By    Cecil    J. 

Sharp.     New  York  and  Boston,  [1916]. 

Ord  'Fhe  Bothy  Songs  and  Ballads  of  Aberdeen,  Banff 

and  Moray,  Angus  and  the  Mearns.  By  John 
Ord.     Paisley,  [1930]. 

OSC  Our  Singing   Country.      By   John   A.   Lomax,   Alan 

Lomax,  and  Ruth  Crawford  Seeger.  New  York, 
1941. 

OSSG  Old  Songs  and  Singing  Games.     Bv  Richard  Chase. 

Chapel  Hill,  N.  C,  1938. 

Owens  Szving  and  Turn:  Te.vas  Play-Party  Songs.     By  Wil- 

liam A.  Owens.     Dallas.  1936. 

Ozark  Life       Ozark   Life    {Outdoors).     Kingston,   Ark.,    1925-31. 

PTFLS  Publications  of  the  Te.vas  Folk-Lore  Society.     Aus- 

tin, 1916 — . 

PMLA  Publications  of   the   Modern   Language   .-Issociation. 

1884—. 

Pound  Folk-Song   of   .Xebraska   and   the   Central   West.     A 

Syllabus.  By  Louise  Pound.  University  of  Ne- 
braska, 191 5.  Nebraska  Academy  of  Sciences  Pub- 
lications, vol.  IX,  no.  3. 

Rinibault  .\'ursery  Rhymes,  zvith  Tunes.  ...     By  Edward  F. 

Rimbault.     London,  n.d. 

SBML  Songs  and  Ballads  of  the  .Maine  Lumberjacks.     By 

Roland   Palmer   Gray.     Cambridge    [Mass.].   1924. 

SBNS  Songs  and   Ballads  from   .Xoi-a   Scotia.      By    Helen 

Creighton.     Toronto,   [1932]. 

SCB  South  Carolina  Ballads.    By  Reed  Smith. 

[Mass.],  1928. 

SCSM  A   Song  Catcher  in   Southern   .Mountains. 

othy   Scarborough.     New  York,   1937. 


Cambridge 
Bv   Dor- 


XXX  ABBREVIATIONS 

SFLQ  Southern     Folklore     Quarterly.       Gainesville,     Fla., 

1937—- 
SFSEA  Spiritual  Folk-Songs  of  Farly  America.     By  George 

Pullen  Jackson.     New  York,  [1937]. 
SharpK  English  Folk  Songs  from  the  Southern  Appalachians. 

By  Cecil  J.   Sharp  and  Maud   Karpeles.     London, 

1932.     2  vols. 

Shearin  A   Syllabus  of  Kentucky   Folk-Songs.      By   Herbert 

G.    Shearin   and   Josiah    Combs.      Lexington.    Ky., 

191 1.     Transylvania  Studies  in  English  II. 
SHE  Songs  of  the   Hill-Folk.     By  John  J.   Niles.     New 

York,   [1934]. 
SMLJ  Songs  of  the  Michigan   Lumberjacks.     By   Earl   C. 

Beck.     Ann  Arbor,  1941. 
SS  Slai'e  Songs  of  the   United  States.     By  William  E. 

Allen.     New  York,  1867  (reprinted  1929). 
SSSA  Songs    Sung    in    the    Southern    Appalachians.      By 

Mellinger  E.  Henry.     London,   [1934]. 
Steely  "The  Eolk-Songs  of  the  Ebenezer  Community."     By 

Mercedes    S.    Steely.      Unpublished    M.A.    thesis, 

University  of  North  Carolina,  1936. 
Talley  Negro  Folk  Rhymes.     By  Thomas  W.  Talley.     New 

York,  1922. 
TBmWV  Traditional  Ballads  mainly  from  West  Virginia.     By 

John  Harrington  Cox.     National  Service   Bureau, 

1939- 
TBV  Traditional  Ballads  of   Virginia.      By   Arthur    Kyle 

Davis.     Cambridge  [Mass.],  1929. 
TKMS  Twenty    Kentucky    Mountain    Songs.      By    Loraine 

Wyman  and  Howard  Brockway.     Boston,   [1920]. 
TNFS  On   the   Trail   of  Negro   Folk-Songs.     By   Dorothy 

Scarborough.     Cambridge   [Mass.],   1925. 
TSSI  l^ales  and  Songs  of  Southern  Illinois.     By  Charles 

Neely.     Menasha,  Wis.,  1938. 
VFSB  Vermont    Folk-Songs   and    Ballads.      By    Helen    H. 

Elanders    and    George    Brown.      Brattleboro,    Vt., 

1932.     2nd  ed. 
WNS  IVhite    and    Negro    Spirituals.      By    George    Pullen 

Jackson.     New  York,  [1944]. 
Wolford  Tlie  Play-Party  in  Indiana.     By   Leah   J.  Wolford. 

Indianapolis,  1916. 
WSSU  White    Spirituals    in    the    Southern    Uplands.      By 

George  Pullen  Jackson.     Chapel  Hill,  N.  C,  1933. 


FOLK    SONGS 

FROM 

NORTH    CAROLINA 


N.C.K..  Vol.   Ill,  (3  ) 


SONGS 


THE  DIS'l'INCTKJN  between  ballads— as  folklori.sts  now  use 
the  term — and  otiier  types  of  folk  song  was  first  formulated, 
so  far  as  1  know,  by  the  eighteenth-century  poet  William  Shenstone, 
Percy's  friend  and  adviser  in  editing  the  Rcliqucs.  He  wrote  to 
Percy  in  1761  :  "It  is  become  habitual  to  me,  to  call  that  a  JUiUad, 
which  describes  or  implies  some  Action  ;  on  the  other  hand,  1  trim 
that  a  Sony,  which  contains  only  an  expression  of  Sentiment."  In 
arranging  the  contents  of  the  Brown  Collection  we  liave  decided 
to  follow  this  principle.  But  it  has  been  found  necessary  to  apply 
the  terms  in  a  very  elastic  spirit.  In  scores,  perhaps  hundreds,  of 
instances  there  are  hints,  traces  of  action,  but  no  definite  story  is 
told.  The  composite  and  desultory  character  of  a  great  deal  of 
traditional  folk  song  makes  a  strictly  logical  classification  of  the 
items  impossible.  But  the  items  must  be  placed  in  some  order.  If 
a  given  piece  is  found  among  the  ballads  when  it  seems  to  be  rather 
merely  a  song,  or  vice  versa — if  the  placing  of  items  seems  some- 
times merely  arbitrary — we  must  plead  necessity. 


COURTING    SONGS 


AMONG  the  oldest  and  most  widely  diffused  of  traditional  songs 
are  the  dialogues  of  courtship.  Theocritus  knew  them  in  Sicily, 
and  Vergil  probably  heard  them  by  the  Alincio.  In  English,  'A  Paper 
of  Pins'  is  known,  doubtless,  all  over  the  English-speaking  world. 
With  two  exceptions,  our  North  Carolina  texts,  like  most  other  ver- 
sions found  in  this  country,  end  satirically;  when  the  lady  accepts 
the  last  of  the  wooer's  offers,  the  key  of  his  chest,  he  declares  that 
all  she  wants  is  money  and  retracts  his  offer.  There  are  several 
variations  on  this  theme.  In  two  of  them,  here  given  as  the  two 
texts  of  'The  Courting  Cage,'  the  wooer  is  refused  despite  all  his 
tine  possessions  because  he  is  a  drunkard  or  a  card-player  or  both. 
Quite  different  is  'Miss,  Will  You  Have  a  Farmer's  Son?'  Here 
a  girl  is  offered  five  suitors  in  succession  and  refuses  all  but  two, 
a  California  boy  and  a  Southern  lad.  One  supposes  that  this  song 
dates  from  some  time  in  the  sixth  or  seventh  decade  of  the  last  cen- 
tury. Then  there  are  songs  of  courtship  that  are  entirely  humorous 
or  satirical.  The  best  of  these,  'The  Old  Man's  Courtship'  and  'The 
Quaker's  Wooing,'  are  English  but  are  well  remembered  on  this 
side  of  the  water.  'When  I  Was  a  Young  Girl,'  with  its  catchy 
'this-a-way  that-a-way'  refrain,  is  a  singing  game  of  children  in 
the  old  country  but  has  become  social  satire  here:  after  going  this-a- 
way  that-a-way  to  her  husband's  funeral  she  practices  a  different 
this-a-way  that-a-way  to  catch  his  successor.  'Soldier,  Soldier. 
Won't  You  Marry  Me?'  is  a  game  song  of  children  in  England 
but  seems  in  this  country  to  be  merely  a  comic  song.  Another 
English  song,  of  the  pastourelle  type  of  wayside  seduction,  in 
which  the  girl  tells  her  wooer  that  she  will  have  him  "or  almost 
anybody,"  has  not  often  been  recorded  in  America.  In  'Madam, 
1  Have  Gold  and  Silver'  a  familiar  courting  dialogue  is  turned  at 
the  end,  rather  surprisingly,  into  a  returned-lover  story.  'One 
Morning  in  May.'  better  known  as  'Tlie  Nightingale.'  is  a  favorite 
with  American  ballad  singers. 

A  curious  custom  is  reflected  in  two  pieces,  'Courting  Song' 
and  'Don't  Stay  after  Ten.'  In  connection  with  the  former  of 
these  Mrs.  Sutton  gives  an  anmsing  account  of  the  custom  from 
personal  experience.  She  was  engaged  at  the  time  as  ins])ector  of 
schools  and  had  got  as    far  as  the  Watauga   River  at  the    foot  of 


f  ()  r  k  T  I  N  <;    s  (1  N  (;  s  5 

Beech  .\l(iunl;iin  near  tlu'  reiinoMX'  line:  in  lad,  the  school  dis- 
trict wliich  she  \\a>  then  visiting;  was  ])aitly  in  .\\erv  and  Watauga 
counties  and  partly  in  Tennessee.  She  went  home  with  the  teacher 
to  spend  the  night. 

Her  home  was  a  long,  low,  old-time-looking  house  witli  three  front 
doors  all  opening  on  a  long  jiorcli.  It  was  early  in  the  fall  and  still 
warm    weather. 

We  didn't  get  to  the  house  till  dusk,  a.s  we  liad  talked  over  iier  work 
for  two  hours  after  school,  and  she  helped  get  supper  wiiile  1  sat  on  the 
porch  and  watched  the  stars  come  out  over  the  wall  of  the  mountain.  .  .  . 
While  she  helped  iier  mother  cook  supper  she  sang  this  song,  and  I 
asked  her  to  copy  it  out  for  me. 

After  supper  she  suggested  that  1  retire.  I  wasn't  at  all  sleepy  and 
it  was  only  seven  o'clock,  l)ut  she  insisted  that  I  must  retire  and  urged 
me  so  much  that  there  was  no  way  out  of  it.     I   went. 

The  room  in  which  I  slept  was  the  one  on  the  upper  end  of  the  long 
porch.  It  was  a  long  room  with  two  beds  at  the  back,  a  fireplace  in 
front,  an  organ  in  one  of  the  front  corners  and  a  washstand  with  a  red 
flowered  bowl  and  pitcher  in  the  other.  There  were  several  enlarged 
portraits  in  gilt  frames  on  the  walls,  and  all  of  the  chairs  had  hand- 
embroidered  throws  on  them.  I  undressed  and  got  into  one  of  the  high 
feather  beds.  Miss  Martha  folded  my  clothes  carefully,  slid  my  travel- 
ing bag  under  the  bed,  and  took  a  comb,  l)rusli,  and  some  powder  out 
of  an  opening  in  the  front  of  the  organ  and  brushed  her  i)retty  hair, 
powdered  her  face,  and  went  to  the  door  and  let  in  her  "fellow."  who 
had  come  courting.  I  was  the  only  one  of  the  three  people  in  the  room 
who  was  the  least  bit  embarrassed,  and  I  might  have  saved  myself  the 
trouble.  The  caller  ignored  me  as  completely  as  though  I  had  been  a 
thousand  miles  away  and  addressed  himself  to  the  business  of  courting  as 
energetically  as  if  he  and  his  lady-love  were  on  a  desert  island. 

He  was  like  the  hero  of  this  ballad  in  only  one  particular.  I  am 
sure  he  stayed  all  night.  I  tried  not  to  listen  the  fu-st  three  or  four 
hours:  then  I  tried  to  hear  the  whispered  remarks  and  to  oliserve  the 
technique  of  "settin'  up"  on  that  side  of  the  ridge:  but  at  last  nature 
rebelled  and  I  went  to  sleep.  Some  time  in  the  wee  sma'  hours  my 
hostess  came  to  bed  with  me.  From  that  day  to  this  she  has  never 
mentioned  the  episode  nor  have  I.  It  isn't  good  manners  to  tease  a  girl 
about  courting  unless  you  know  her  well,  and  any  remark  about  the  call 
on  my  part  would  have  been  interpreted  as  "dragging"  her. 

Witli  these  two  songs  sliould  he  compared  certain  sonijs  in  tlie 
section  on  regional  and  social  satire — "If  \'()U  Want  to  (io  .A-C'(jurt- 
ing,'  'When  Young  Men  Go  Courting,'  "Johnson  Boys,"  and  "The 
Carolina  Crew.' 

In  the  same  general  category  belong  two  other  songs  or  groujjs 
of  songs,  the  'I  Wouldn't  Marry'  group  and  the  "When  I  W^as 
Single'  group.  In  the  "I  Wouldn't  Marry'  group  sometimes  the  man 
speaks,  declaring  that  he  wouldn't  marry  an  old  m.iid.  or  ;i  ricli 
gal.  or  a  poor  gal.  or  a  city  gal.  generally  for  nonsensical  reasons; 
sonietitnes  a  woman  speaks,  declaring  that  she  wouldn't  marry  any 
one  of  a  string  of  characters  she  describes  fnot  so  nonsensically 
as  in  the  preceding  set  )  but  is  determined  to  die  an  old  maid.  Some 
are  devoted  entirelv  to  the  contrast  between  crabbed  age  and  youtli ; 


O  NORTH  CAROLINA  FOLKLORE 

she  will  not  marry  an  old  man  but  would  gladly  marry  a  young 
man  with  an  apple  in  his  hand.  There  are  four  texts  of  a  song  in 
which  a  girl  rejects  all  other  sorts  of  suitors  but  will  gladly  marry 
a  farmer  boy;  she  loves  to  wash  the  dishes,  sweep  the  floor,  feed 
the  chickens,  and  milk  the  cows.  And  in  two  songs  the  woman  and 
the  man  speak  alternately.  The  songs  in  this  group  look  as  if  they 
might  be  play-party  or  dance  songs,  but  they  are  not  so  described 
by  the  contributors.  The  'When  I  Was  Single'  theme  also  appears 
in  two  forms,  one  for  man  and  one  for  woman.  The  former  is 
found  many  times  in  the  Collection  but  without  much  variation; 
when  he  was  single  his  pockets  would  jingle;  when  his  wife  died 
he  laughed  till  he  cried;  but  he  had  no  more  sense  than  to  marry 
a  second  time,  this  time  to  a  woman  he  describes  as  the  devil's 
grandmother.  The  woman's  form,  in  which  she  complains  of  the 
misery  of  being  married  to  a  drunkard  or  a  gambler  or  both,  is 
given  in  the  following  section,  the  songs  about  drink  and  gambling. 


I 
A  Paper  of  Pins 

For  the  history  and  spread  of  this  courting  dialogue,  see  BSM 
507.  To  the  references  there  given  should  now  be  added  Virginia 
(FSV  229-31),  West  Virginia  (SFLQ  vi  226-31;  one  of  these 
is  the  'Keys  of  Canterbury'  form,  not  otherwise  known  from  the 
United  States),  Missouri  (OFS  in  40-5),  Ohio  (BSO  120-5), 
Illinois  (SFLQ  vi  224-6).  In  one  of  these  it  appears  as  a  sing- 
ing game.  Mrs.  Steely  found  it  as  a  play-party  song  in  the  Eben- 
czer  community  in  Wake  county.  All  but  two  of  our  North 
Carolina  texts  have  the  misogynist  ending  familiar  in  American  ver- 
sions, but  the  last  two  end  romantically  with  "the  key  of  my  heart." 

A 

'The  Paper  of  Pins.'     Reported  by  Allie  Ann  Pearce  of  Colerain,  Bertie 
county.     Not  dated. 

1  'Miss,  I'll  give  you  a  paper  of  pins — 
This  is  the  way  our  love  begiiLs — 

If  you  will  marry  nie.  Miss,  if  you  will  luarry  me.' 

2  'I'll  not  accept  the  paper  of  pins, 
If  this  is  the  way  our  love  begins ; 

I'll  not  marry  you,  I'll  not  marry  you.' 

3  'Miss,  I'll  give  you  a  little  pet  clog. 

To  set  on  your  laj)  when  yoti  go  abroad. 

If  you  will  marry  me.  Miss,  if  you  will  marry  me.' 

4  'I'll  not  accept  the  little  lap  dog 
To  set  on  my  lap  when  I  go  abroad ; 


C  0  U  R  T  I  NM;     S  0  N  G  S  7 

I'll  IK  It  inarrv  you,  I'll  not  marry  you.' 

5  'Miss,  I'll  give  you  a  dress  of  red 
Stitched  all  around  with  golden  thread. 

If  you  will  marry  me.  if  you  will  marry  me.' 

6  "I'll  not  accept  the  dress  of  red 
Stitched  all  around  with  golden  thread  ; 
I'll  not  marry  you,  I'll  not  marry  you.' 

7  'Miss,  I'll  give  you  a  dress  of  green 
And  you  may  dress  as  fine  as  any  queen, 

If  you  will  marry  me,  Miss,  if  you  will  marry  me.' 

8  "I'll  not  accei)t  the  dress  of  green 
It    1  may  dress  of^  any  queen; 

I'll  not  marry  you.  Sir,  I'll  not  marry  you.' 

9  'I'll  give  to  you  the  key  to  my  heart. 
We  may  lock  it  to  never  part. 

If  you  will  marry  me,  if  you  will  marry  me.' 

10  'I'll  not  accept  the  key  to  your  heart,(;^ 
If  we  may  lock  it  to  never  part ; 

I'll  not  marry  you.  Sir,  I'll  not  marry  you.' 

1 1  "Miss,  I'll  give  to  you  the  key  to  my  chest. 
You  may  have  money  to  your  request, 

If  you  will  marry  me.  Miss,  if  you  will  marry  me.' 

12  'I'll  accept  the  key  to  your  chest 

If  I  may  have  money  to  my  request; 
I'll  marry  you.  sir.  I'll  marry  you.' 

13  'Ha,  ha,  ha!     If  money  is  all 
I'll  not  marry  you  at  all. 

I'll  not  marry  you.  Miss,  I'll  not  marry  you.' 

B 

'Paper  of  Pins.'  Reported  by  Sarah  K.  Watkiiis  from  .Ansnii  and  Stanly 
counties.  The  series  here  is  paper  of  pins,  dress  of  red,  dress  of  l)lue, 
coach  of  eight,  coach  of  four,  key  of  my  heart,  key  of  my  desk ;  and 
it  ends  like  A. 

C 

'The  Paper  of  Pins.'  Reported  by  Louise  Bennett  of  Middlcburg,  Vance 
county.  Not  dated.  The  series  is  i)aper  of  pins,  coacli  and  four,  coach 
and  six,  the  key  to  my  heart,  tht.-  key  to  my  hank;  and  it  ends: 

'Ah.  ha.  ha!     Money  is  all! 

A  woman's  love  is  nothing  at  all ! 

'  Miswritten,  one  supposes,  for  "Hkc." 


5  NORTH  CAROLINA  FOLKLORE 

And  I'll  not  marry  you,  you.  you, 
And  I'll  not  marry  you.' 

D 

'Paper  of  Pins.'  Reported  by  Mabel  Ballentine  of  Wake  county.  Not 
dated.  The  series  here  is  paper  of  pins,  coach  of  four,  coach  of  six, 
key  to  my  heart,  key  to  my  desk,  and  the  conclusion  as  in  preceding 
texts. 


'A  Paper  of  Pins.'  From  Ethel  Brown  of  Catawba  county.  Not  dated. 
The  series  is  paper  of  pins,  little  lap  dog,  dress  of  green,  keys  of  my 
heart,  keys  of  my  trunk  ("To  promise  you  I'll  never  get  drunk"),  keys 
of  my  desk ;  and  it  ends  : 

'So  you  do  love  money  and  you  (l(jn't  love  me. 
And  since  you  love  money  you  can't  marry  me. 
And  I  won't  marry  you,  you,  yoti, 
And  I  won't  marrv  vou.' 


'Paper  of  Pins.'  Contributed  by  Floy  Leach  of  Cary,  Wake  county,  in 
1927.  Despite  its  title  it  has  no  paper  of  pins;  the  series  runs:  dress  of 
green,  little  pet  dog,  key  of  my  heart,  key  of  my  desk,  and  the  custom- 
ary  final   stanza. 


'Paper  of  Pins.'  This  text  is  anonymous  but  no  doubt  authentic.  The 
series  is  paper  of  pins,  dress  of  red,  dress  of  blue,  diamond  ring,  match 
of  gray,  match  of  six  (the  "match"  seems  to  mean  a  team  of  matched 
horses),  key  to  my  heart,  key  to  my  chest;  and  the  text  ends: 

'Ha!  ha!  ha!  money  is  all. 
Woman's  love  is  nothing  at  all. 
And  I'll  not  marry  you,  miss. 
And  I'll  not  marry  you.' 
'Oh,  pray.  sir.  don't  take  it  so ; 
It's  all  a  joke  I'll  let  you  know; 
I'll  not  marry  you,  sir, 
And  I'll  not  marry  you.' 

H 

'Paper  of  Pins.'  From  Miss  Pearl  Webb  of  Pineola,  Avery  county. 
This  text  is  accompanied  by  the  tune.  The  series  is  little  dog.  dress 
of  green,  coach  of  six,  dress  of  red,  key  of  my  heart,  key  of  my  desk, 
and  the  final  "money  is  all." 


'Paper  of  Pins.'  Reported  by  R.  D.  Ware  of  All)emarle,  Stanly  county, 
in  1921,  as  obtained  from  Mrs.  Harrison  Gregory  of  North  Wilkesboro, 
Wilkes  county.  The  series  here  is  paper  of  pins,  little  lap  dog,  dress 
of  green,  dress  of  red,  keys  to  my  heart,  keys  to  my  desk;  and  it  ends: 


C  O  I-  R  T  I  N  (i     S  O  N  r.  s  9 

'It's  now,  my  hicnds.  as  _\<iu  can  sec. 
She  wants  my  money  but  don't  want  me. 
But  I  won't  many  you,  ma'am. 
No.  I  won't  marry  you.' 

J 

'Paper    of    Pins."      Reported    by    Katherine    Bernard    Jones    of    RalciRli. 
Only  a  fragment:  tlic  paper  of  pins  and  the  key  to  my  desk. 


'Paper   of    Pins.'      From    Ethel    Hicks    Bufifalo   of   Granville   county.      A 
fragment ;  the  first  two  stanzas  only. 


'Paper  of  Pins.'  Obtained  from  B.  N.  White,  time  and  place  not 
recorded.  The  series  runs  :  paper  of  pins,  dress  of  red,  the  key  to  my 
cliest.  key  to  my  heart,  and  ends  : 

"1  will  accept  the  key  to  your  heart 
[In  token  that  we  shall  never  j)art  ;| 
And  I  will  marry  you.  you.  you, 
And  I  will  marry  you.' 

The  second  line  is  missing  in  the  manuscript  but  may  be  supplied  with 
certainty. 

M 

'Paper  of  Pins.'  From  Miss  .-Xmy  Henderson  of  Worry,  Burke  county, 
in  1914.  Like  L,  this  ends  on  the  romantic  note ;  the  series  runs : 
paper  of  pins,  little  lap  dog,  dress  of  red,  dress  of  green,  coach  and  four, 
coach  and  six,  key  to  my  chest,  key  to  my  heart. 


2 
Madam,  Will  You  Walk? 

This  is  a  less  familiar  form  of  the  'Paper  of  Pins'  courting 
dialogue.  It  is  known  in  Somerset  (JFSS  11  87-8),  but  1  have  not 
found  it  reported  from  America.  Mrs.  Sutton's  text  is  strongly 
influenced  by  the  customary  'Paper  of  Pins'  series,  and  so  is  I\Iiss 
Tuttle's  as  far  as  it  goes. 


'Madam,  Will  You  Walk?'     Rei)orted  by   .Mrs.   Sutton,  but  she  does  not 
say  when  and  where  she  heard  it. 

1  'I  will  give  you  a  paper  of  ])ins. 
For  that's  the  way  true  love  begins. 
If  you  will  walk,  if  you  will  talk. 

If  vou  will  walk  and  talk  with  me. 

2  '1  will  give  you  a  coach  and  si.x 
And  everv  horse  as  black  as  pitch. 


10  NORTH  CAROLINA  FOLKLORE 

Madam,  will  you  walk,  madam,  will  you  talk, 
Madam,  will  you  walk  and  talk  with  me  ? 

3  'I  will  give  you  a  coach  and  four 
And  every  horse  as  white  as  snow 
If  you  will  walk,  if  you  will  talk. 
If  you  will  walk  and  talk  with  me. 

4  'I  will  give  you  the  keys  to  my  heart, 
That  we  may  lock  it  never  to  part. 
Madam,  will  you  walk,  madam,  will  you  talk. 
Madam,  will  you  walk  and  talk  with  me?' 

5  'No,  I  will  not  walk,  no,  I  will  not  talk, 
No,  I  will  not  walk  and  talk  with  you.' 

6  'I  will  give  you  the  keys  of  my  chest, 
That  you  may  have  money  at  your  request, 
If  you  will  walk,  if  you  will  talk, 

If  you  will  walk  and  talk  with  me.' 

7  T  will  accept  the  keys  of  your  chest. 
That  I  may  have  money  at  my  request ; 
Yes.  I  will  walk,  yes,  I  will  talk. 

Yes,  I  will  walk  and  talk  with  you.' 

8  'You  will  accept  the  keys  of  my  chest 
That  you  may  have  money  at  your  request ! 
But  I  will  not  walk,  I  will  not  talk, 

I  will  not  walk  and  talk  with  you.' 


'Madam,  Will  You  Walk?'  From  Miss  Emeth  Tuttle  of  Lenoir.  Cald- 
well county,  in  May  1921.  With  the  air.  Only  one  stanza  of  the  text, 
which  is  the  same  as  stanza  2  of  A. 


3 

The  Courting  Cage 

So  called  in  the  Ozarks,  according  to  Vance  Randolph  (OASPS 
216-19),  though  he  confesses  that  he  does  not  know  what  a  courting 
cage  is  (in  OFS  iii  361-3.  where  he  gives  a  Missouri  version,  he 
suggests  that  it  is  a  corruption  of  "court  engaged").  In  Virginia 
it  is  called  'The  Courting  Case'  (SharpK  11  249-51)  or  'Kind 
Sir'  (SCSM  305-6)  or  'The  Drunkard's  Courtship'  (FSV  232-4): 
Chappell  calls  his  North  Carolina  version  (FSRA  199-200)  'The 
Drunkard's  Courtship.'  It  has  heen  found  also  in  Mississippi 
(FSM  168-9),  Indiana  (SFLQ  v  182-3).  and  Michigan  (BSSM 
417-19). 


C  O  U  U  T  1  N  C.     S  0  N  G  S  II 


'Kind    Sir,    I    See    \'(>u'\o    Lome    Again.'      ()l)taiiK'(l    from    Miss     kwxU 
Robhiiis  of   Pekiii.   MoiUgdiiKry  county,  in    \i)22. 

1  "Kind  Sir.   I  set'  \()u'\c'  (.■oiiic  as^aiii. 
I'ray  tell  mv  what  it's  for. 

[''or  wlieii  \vc  parted  on  yontlers  hill 

1  told  yon  to  come  no  more,  more,  nKM'e, 

1  told  yon  to  come  no  more." 

(repeat   ihns  the  last  line  ot'  each  stan/a) 

2  'Oh.  Miss,  1   fall  down  at  yonr  feet. 
Your  mercy  1  implore ; 

If  one  to  me  he  granted  not 
I'm  lost  for  evermore.' 

3  '(J)h,  Sir,  I  know  just  what  you  want; 
You  want  to  take  me  in. 

And  if  I  will  agree  to  marr)-  you 
You'll  drink  and  gamhle  again.' 

4  'Oh.  Aliss.  it's  a  thing  I  never  did  do 
And  1  never  did  think  'twas  right. 

If  you'll  agree  to  marry  me 
I'll  never  lie  out  one  night.' 

5  'Oh,  Sir,  I  think  you're  might}'  hold 
To  make  that  olYer  again  ; 

For  do  you  think  I'm  simple  enough 
To  marry  a  harrel  o'  gin? 

6  'Kind  Sir.  1  think  you'd  hetter  go. 
Your  staying  here  is  vain  ; 

You're  only  trouhling  me  ver}-  nuich 
.And  giving  yourself  great  pain.' 

7  'Oh,  Miss,  I  have  a  very  tnie  horse — 
He  paces  like  the  tide — 

That  you  may  have  at  your  command 
Whenever  you  choose  to  ride." 

8  'Oh.  sir.  I  know  your  very  line  horse; 
He  paces  like  a  tide. 

I  know  his  master  loves  to  drink. 
And  I  can't  he  his  bride.' 

9  'Oh.  miss,  I  have  a  very  tine  house 
And  also  very  fine  yards.' 

'But  who  will  stay  with  me  at  night 
When  you  are  playing  cards?' 


12  X  0  R  T  H      CAROLINA      I-  0  I.  K  L  O  R  E 

10  'Oh,  miss.  I  have  a  very  fine  orchard 
And  also  very  fine  fruit 

That  you  can  have  at  your  command 
If  you  will  he  my  bride.' 

1 1  'Oh,  sir,  I  know  your  very  fine  orchard 
And  also  very  fine  fruit ; 

But  when  I  come  in  and  turn  you  out 
You  know  a  hog-  will  root.' 

12  'Oh,  miss,  you  are  a  hard  old  jade 
And  very  hard  to  please  ;^ 

And  some  cold  night  when  you're  alone 
I  hope  to  God  you'll  freeze !' 


'If   You    Will    Only    Be    My    Bride.'     Contributed   by   J.    B.    Midgett   of 
Wanchese,  Roanoke  Island,  probably  in  1920.     With  the  tune. 

1  'Kind  miss,  I  have  a  very  fine  ship, 
She  plows  the  ocean  wide. 

And  she  can  be  at  your  command 
If  you  will  only  be  my  bride,  bride, 
If  you  will  only  be  my  bride.' 

2  'Kind  sir,  I  know  you  have  a  very  fine  ship. 
And  she  plows  the  ocean  wide. 

And  she  can  be  at  my  command ; 
But  I  will  not  be  your  bride,  bride. 
But  I  will  not  be  your  bride." 

3  'Then,  kind  miss,  I  have  a  very  fine  farm, 
It  is  fifty  acres  wide. 

And  it  can  be  at  your  command 

If  you  will  only  be  my  bride,  bride. 

If  you  will  only  be  my  bride.' 

4  'Kind  sir.  1  know  }()U  have  a  very  fine  farm 
That's  fifty  acres  w'ide. 

And  it  can  be  at  my  command  ; 
But  I  will  not  be  your  bride,  bride, 
I  will  not  be  your  bride.' 

5  'Now,  kind  miss,  I  have  a  very  fine  horse, 
He  paces  like  the  tide. 

And  he  shall  be  at  your  command 
If  you  will  only  be  my  bride,  bride. 
If  you  will  only  be  my  l)ride.' 

'  The   manuscript   has   here    "freeze,"    no    doubt    by   anticipation   of   the 
line  below. 


C  O  I'  R  T  I  N  G     S  0  X  G  S  I3 

6  'I  know,  kind  >ir.  ynu  have  a  very  fine  horse 
That  paces  hkc  the  tide  : 

lie  knows  the  way  to  the  okl  grojj^  shop. 
l''or  his  master  paces  him  there,  tlicre. 
For  his  master  paces  him  there. 

7  'Kind  miss.  1  have  a  very  tine  house 
That  stands  in  yonder  yard. 

And  it  shall  be  at  your  command 
If  vou  will  only  be  my  bride,  bride. 
If  \du  will  onlv  be  mv  bride.' 

8  T\.ind  sir.  1  know  you  have  a  very  Ihie  house 
That  stands  in  yonder  yard. 

But  who  is  going  to  stay  with  me  at  night 
\\  hen  you  are  out  playing  cards,  cards, 
When  vou  are  out  playing  cards?' 

9  'Kind  miss.  1  never  did  ])lay  cards. 
I  never  thought  it  right. 

But  if  you'll  consent  to  marry  me 
I'll  stay  with  you  at  night,  night, 
I'll  stay  with  you  at  night. 

lo     'Sence  you  are  so  quarrelsome. 
So  thundering  hard  to  please. 
When  vou  get  old  and  pinched  with  cold 
1  hope  to  (iod  you'll  freeze,  freeze-. 
I  ho])e  to  ( jod  you'll  freeze !' 

I  I      "When  I  get  old  and  pinched  with  cold 
It  won't  be  you  to  keep  me  warm  ; 
I'll  get  somebody  I  love  much  better 
And  lie  closer  in  his  arms.  arms. 
And  lie  closer  in  his  anus.' 

4 

MaDA.M     MoZKI.l.K.    I'VK    C'oMK    CoURTl.NG 

This  is  a  fraj^nient  of  that  version  of  the  courting  dialogue  which 
Barrv  (JAFL  xxiv  341-2)  reported  from  the  singing  of  an  Jrish- 
man  in  Boston,  beginning  "Madam.  1  liavc  come  a-courting."  The 
first  two  words  represent,  one  guesses,  a  misuntlerstanding  of 
"mademoiselle.'' 

'Madam    Mozelle.    I've   Come   Courting.'      Contributed   by    H.    F.    Sha\v, 
with  the  notation  that  it  is  from   "the  eastern  part  of  North  Carolina." 

Madam  Mozelle,  I've  come  courting. 
Your  kind  heart  I  ho]ie  to  win  ; 


14  NORTH  CAROLINA  FOLKLORE 

And,  if  you  will  entertain  me, 
Truly,  I  will  call  again. 


5 
Miss,  Will  You  Have  a  Farmer's  Son  ? 

Here  the  courting  dialogue  (see  'A  Paper  of  Pins,'  'Madam, 
Will  You  Walk,'  The  Courting  Cage,'  'Madam  Mozelle,  I've  Come 
Courting,'  'The  Quaker's  Wooing')  is  turned  from  its  usual  purpose 
of  satire  to  the  praise  of  the  Forty-niners  and  gallant  Southern 
lads.     In  this  form  it  has  not  been  found  elsewhere. 

'Miss,  Will  You  Have  a  Farmer's  Son?'  From  a  manuscript  note- 
book in  which  Mrs.  Harold  Glasscock  of  Raleigh  had  set  down  songs 
learned  from  her  mother,  most  of  which  she  can  sing.  Dr.  White  bor- 
rowed the  notebook  in  1943  and  made  this  and  other  transcripts  from  it. 

1  'Miss,  will  you  have  a  farmer's  son?' 
'No,  no,  not  a  farmer's  son. 

He  is  rough  and  he  is  so  tough. 
No,  no,  not  a  farmer's  son.' 

2  'Miss,  will  you  have  a  shoemaker's  son?' 
'No,  no,  not  a  shoemaker's  son. 

It's  peg  a  little  here  and  peg  a  little  there. 
No,  no,  not  a  shoemaker's  son.' 

3  'Miss,  will  you  have  a  California  boy?' 
"Yes,  yes,  a  California  boy. 

He  looks  so  bold  with  his  pockets  full  of  gold. 
Yes,  yes,  a  California  boy.' 

4  'Miss,  will  you  have  a  Dutchman's  son?' 
'No,  no,  not  a  Dutchman's  son. 

He  makes  such  a  fuss  about  his  buttermilk  and  mush. 
No,  no,  not  a  Dutchman's  son.' 

5  'Miss,  will  you  have  a  Southern  lad?' 
'Yes,  yes,  a  Southern  lad. 

He  looks  so  neat  and  he  kisses  so  sweet. 
Yes,  yes,  a  Southern  lad.' 


6 

LuciNDY,  Won't  You  Marry  IMe? 

A   fragment  of  a  courting  song  not  elsewhere,  so   far  as   T  can 
learn,  reported  by  collectors. 

'Lucindy,    Won't    You    Marry    Me?'      Received    in    1922    from    

Pickens. 


couRTiN(;soN(;s  15 

Lucindy.  won't  you  iiiarr\-  iiu'. 
Won't  \(>u  marry  \uv  in  ilw  niornin'? 
If  you'll  marry  \uv  \-our  molhcr'H 
Cook  a  shinc-c'ved-hen. 

7 
Soldier,  Soldier,  Won't  You  M.\rr\-  Mk? 

Miss  Gilchrist,  JEFDSS  in  122-3,  ""ting  Ncwell's  account  of 
this  "nursery  game-song"  in  his  Games  and  Songs  of  American 
Children,  is  "inclined  to  think"  it  is  of  Scottish  origin.  It  seems 
not  to  be  of  record  earlier  than  the  nineteenth  century,  and,  apart 
from  Newell's  report  and  the  Virginia  texts  reported  by  Davis 
(FSV  236),  not  to  be  a  game  song  in  America.  It  is  rej)orted  as 
traditional  song  from  Glasgow  (JEFDSS  in  121 ),  Gloucestershire 
(JEFDSS  III  121),  Newfoundland  (ESN  140-1),  Vermont  (VFSB 
61),  Virginia  (JEFDSS  iii  122,  JAFL  xxxiii  158,  FSV  236), 
West  Virginia  (FSS  467),  Kentucky  (BKH  77-8,  SharpK  11  41  ), 
Tennessee  (SharpK  11  41,  BTELS  v  35-7).  North  Carolina 
(SharpK  11  40 j,  the  Ozarks  (OFS  i  289-90),  Indiana  (BSI  :i,^~), 
and  Nebraska  (ABS  224-5),  and  is  also  in  Airs.  Richardson's 
American  Mountain  Songs  (51).  The  six  texts  in  our  collection  do 
not  vary  greatly. 


'Soldier,  Soldier,  Won't  You  Marry  Me?'     Coiitrilnited  by  C.  M.  llutcb- 
ins  of  Durham,  apparently  in   1913. 

1  'Soldier,  soldier,  won't  you  marry  me 
With  your  rifle,  fife,  and  drum?' 

'How  can  I  marry  such  a  pretty  little  girl 
If  I  have  no  shoes  to  put  on?' 

2  Away  she  ran.  as  fast,  as  fast. 
As  fast  as  she  could  run. 

And  got  a  very  nice  pair  of  shoes. 
Says.  'Soldier,  put  them  on.' 

So  for  several  stanzas,  changing  shoes  to  coat,  hat,  etc.     Then  : 

'Soldier,  soldier,  won't  you  marry  me. 
With  your  rifle,  fife,  and  drum?' 
'How  can  I  marry  such  a  pretty  little  girl 
When  I  have  a  wife  at  home?' 

Away  she  ran.  as  fast,  as  fast. 
As  fast  as  she  could  run. 
'And  if  you  have  a  wife  at  home. 
I  tiiink  I  had  hetter  be  gone.' 


l6  NORTH   CAROLINA  FOLKLORE 


'Soldier,  Soldier,  Will  You  Marry  Ale?'  From  Miss  Amy  Henderson 
of  Worry,  Burke  county,  about  1914.  The  refrain  line  is  slightly  dif- 
ferent here.     The  first  stanza  runs  : 

'Soldier,  soldier,  will  you  marry  me?' 

Fife  and  drum: 

'How  can  I  marry  such  a  pretty  girl  as  you? 

I've  got  no  shoes  to  put  on.' 

She  ran  to  the  tailor,  tailor  shop, 

Fast  as  she  could  run, 

And  got  him  the  finest  shoes  she  could  get : 

'Soldier,  put  these  on.' 

The  series  runs  through  socks,  coat,  shirt,  hat ;  and  it  ends  : 

'How  can  I  marry  such  a  pretty  girl  as  you 
When  Fve  got  a  wife  at  home?' 


'Soldier,  Soldier,  Won't  You  Marry  Me?'  Contributed  by  Thomas 
Smith  of  Zionville,  Watauga  county,  in  191 5.  With  music  by  A.  J. 
Burrus.  Smith  notes:  "The  song  .  .  .  was  sung  by  J.  W.  Lawrence. 
I  write  it  from  memory,  as  it  has  been  over  20  years  since  I  have  heard 
it  sung.  Other  people  sang  it  20  or  25  years  ago.  The  tune  is  still 
well  known."  The  series  is  hat,  boots,  coat,  pants ;  and  it  ends  rather 
drastically : 

'How  can  I  marry  such  a  damn  little  bitch 
And  me  got  a  wife  at  home?' 

D 

'Soldier,  Soldier,  Won't  You  Marry  Me?'  Contributed  by  Mrs.  R.  D. 
Blacknall  of  Durham,  with  the  notation  "known  since  1862."  The  re- 
frain line  here  is  'With  your  rifle,  fife,  and  drum.'  The  series  is  cap, 
boots,  coat ;  the  ending  as  in  A. 


'Soldier,  Soldier,  Won't  You  Marry  Me?'  Reported  by  Mrs.  Sutton 
from  the  singing  of  Myra  (Mrs.  J.  J.)  Miller  of  the  Brushy  Mountains, 
Caldwell  county.  The  series  here  is  coat,  shoes,  hat,  pants,  sword,  and 
a  horse. 


No  title.  Contributed  by  Minnie  Stamps  Gosney  of  Wake  county.  The 
series  is  shoes,  socks,  trousers,  shirt,  coat,  collar,  tie,  hat,  gloves — all, 
apparently,  that  the  singer  could  think  of. 


The  Quaker's  Wooing 

Compare  'A  Paper  of  Pins,'  'Madam,  Will  You  Walk,'  'The 
Courting-  Cage.'  This  particular  satire  on  the  wooer  is  not  always 
d'stinct   from  these  and  other  wooing  dialogues.     'Old   .Simon,'  re- 


c  o  r  K  T  1  N  c;    s  0  n  c  s  17 

Ijortfil  truiu  Wilt^hiro  (FSUT  JJ),  'The  Wooin.t;-,'  from  Michigan 
(BSSM  4i7-icS),an(l  'The  Drunkard's  Courtship,'  from  North  Caro- 
lina (FSRA  199-200)  are  kindred  pieces.  What  may  fairly  be 
reckoned  forms  of  'The  Quaker's  Wooinj?'  have  been  reported  from 
New  Enj,dand  (FSONK  276-8),  Virginia  (FSV  235-6),  Arkansas 
(OFS  111  58-60),  Missouri  (BSM  265,  OFS  111  258-9),  Ohio 
I  BSO  293-4).  Indiana  (JAFL  xlix  247,  SFLQ  111  206,  v  182-3), 
Michigan  (BSSM  424-7),  and  Iowa  (ABS  223-4).  '"  '"it-  of 
these  cases  it  is  a  play-party  song. 

•Madam,  1  .\m  Conu-  .\-C0urtinj4.'  Imoiii  tlie  manuscript  soiigbuok  of 
Mrs.  Haruld  Glasscock  of  Raleigli,  lent  to  Dr.  White  in  1943.  The 
songs  in  this  l)ook  Mrs.  Glasscock  learned  from  her  parents. 

1  'iMadain,  1  am  come  a-courtiny. 
Oh,  dear,  oh  dear.  oh.  dear  me 
I'm  for  pleasure,  not  for  sporting. 
Oh.  dear,  oh,  dear,  oh,  dear  me. 

2  'Madam,  I  have  gold  and  silver. 
Oh,  dear,  oh.  dear.  oh.  dear  me.' 
'Go  right  home  and  tell  your  father. 
Tiddle  dum  dink  dum  dink  dum  da. 

3  'That  you  could  not  gtt  me  read}-. 
Tiddle  dum  dink  dum  dink  dum  da.' 
'Madam.  I  am  a  Presbyterian. 

Oh,  dear,  oh,  dear.  oh.  dear  me.' 


9 

The  Old  M.\x's  Courtship 

For  the  history  of  this  old  English  song  and  its  occurrence  in 
modern  times,  see  BSM  264,  and  add  to  the  references  there  given 
Herd's  Ancient  and  Modern  Scottish  Songs  (11,  33-4  of  the  1869 
reprint  of  the  1776  edition).  Miss  Mason's  Nursery  Rhymes  and 
Countrx  Songs,  p.  33,  Essex  (JEFDSS  111  130-1),  Pennsylvania 
(MMP  [^(1  edition  of  NPM]  307-8).  Virginia  and  South  Caro- 
lina (FSV  173,  OSC  132-3).  Arkansas  (OFS  1  293-4),  Missouri 
(OFS  I  291-2),  Ohio  (BSO  132-5),  Indiana  (SFLQ  111  207),  and 
Michigan  (BSSM  413-14).  It  is  interesting  to  find  that  of  the  five 
texts  in  our  collection  only  one  shows  the  familiar  "old  grey 
beard"  refrain.  The  other  four  all  belong  to  one  tradition  with 
"old  boots  and  leggins"  or  "old  boots  a-leakin'  "  in  the  refrain.  Yet 
the  variations  of  folk  fancy  on  the  theme  of  ugly  old  age  prompt 
the  printing  of  all  five  of  the  texts. 


'Old  Shoe  Boots  and  Leggins.'  Contributed  by  Mrs.  Will  X.  Coley  of 
Raleigh  in  1922.  The  second  and  fourth  lines  of  stanza  i  constitute  a 
refrain  to  be  repeated  in  each  stanza. 

N.C.F..  Vol.  HI,  (4) 


iB  NORTH  CAROLINA  FOLKLORE 

1  My  mammy  she  told  me  to  ask  liim  in 
— Oh,  but  I  won't  have  him — 

I  ast  him  in,  and  the  way  he  did  grin  ! 
With  his  old  shoe  boots  and  leggins. 

2  Aly  mammy  she  told  me  to  give  him  some  pie. 

I  give  him  some  pie  and  he  looked  like  he'd  die. 

3  My  mammy  she  told  me  to  put  him  to  bed. 

I  put  him  to  bed  and  he  looked  like  he  was  dead. 

4  Aly  mammy  she  told  me  to  waken  him  up 

I  wakened  him  up  and  he  shook  like  a  duck. 

5  My  mammy  she  told  me  to  saddle  his  horse. 
I  saddled  his  horse  and  bid  him  be  off. 


No  title.     Contributed   by   Miss   Minnie   S.   Gosney   of   Raleigb.      As   in 
A,  the  refrain  is  given  only  with  the  first  stanza. 

1  Mother,  my  mother,  bid  me  open  the  door 
— I  won't  have  him — 

I  opened  the  door  and  he  fell^on  the  floor 
With  his  old  shoes  and  leggins. 

2  Mother,  my  mother,  bid  me  give  him  a  chair. 
I  gave  him  a  chair  and  he  called  me  his  dear. 

3  Mother,  my  mother,  bid  me  light  his  pipe. 
I  lit  his  pipe  and  he  smoked  like  a  snipe. 

4  Mother,  my  mother,  bid  me  put  him  to  bed. 
I  put  him  to  bed  and  he  stood  on  his  head. 

5  Mother,  my  mother,  bid  me  wake  him  up. 

I  woke  him  up  and  he  smacked  like  a  duck. 

6  Mother,  my  mother,  bid  me  saddle  his  horse. 
I  saddled  his  horse  and  I  ordered  him  off. 


'The  Old  Man.'  Contributed  by  Gertrude  Allen  (afterwards  Mrs. 
Vaught)  of  Taylors ville,  Alexander  county.  This  has  "beard"  instead 
of  "boots"  in  the  refrain.  The  third  line  of  the  opening  stanza  is  a 
refrain  closing  each  stanza. 

I      My  mother  brought  an  old  man 
Home  to  see  me 
With  his  old  grey  beard  a-flopping. 

Chorus: 

But  I  wouldn't  have  him, 
I  wouldn't  have  him. 


C  n  I-  R  T  I  N  C.     SONGS  I9 

2  My  niotlKT  i^'ivi'  him  a  dish 
And  hf  swallnwx'd  a  fish. 

3  My  mother  _<jja\e  him  a  stool. 
lUit  he  acted  Hke  a  fool. 

4  My  mother  j;a\e  him  a  pie 
And  he  swallowed  a  fly. 

5  With  a  head  like  a  mule 
1  ie  acts  like  a  fool. 

6  -My  mother  ijave  liim  some  cake 
And  he  swallowed  a  snake. 

7  My  mother  showed  him  the  door, 
But  he  fell  on  the  floor. 

8  ^ly  mother  gave  him  a  saddle 
And  he  rode  ofif  a-straddle. 


'()ld  Boots."  Contributed  by  Miss  Ida  C.  Houston  of  Winston-Salcm, 
witli  the  notation  :  "This  was  sung  in  the  family  of  the  little  girl  who 
wrote  it  for  many  years  by  an  old  servant  whose  mother  and  grand- 
mother sang  it."  The  second  half  of  line  i  and  all  of  lino  3  of  stanza  i 
constitute  the  refrain,  repeated  with  each  stanza. 

1  My  mama  told  me  to  open  the  gate — I  will  not  have  him — 
I  opened  the  gate  and  he  couldn't  walk  straight. 

And  his  old  boots  was  a-leaking. 

2  My  mama  told  me  to  open  the  doiM". 

I  opened  the  door  and  he  fell  in  the  floor. 

3  My  mama  told  me  to  hand  him  a  .stool. 

I  handed  him  a  stool,  and  he  looked  like  a  fool. 

4  My  mama  told  me  to  hand  him  a  shovel. 

I  handed  him  a  shovel,  and  he  looked  like  the  devil. 

5  My  mama  told  me  to  set  tlie  table. 

I  set  the  table,  and  he  said  he  wasn't  able. 


'Old  Boots.'     Contributed  by  Katharine   .Malloy  of  Yanccyville,   Caswell 
county.     Refrain  as  in  D. 

I      My  mama  told  me  to  hand  him  the  ])ie — 1  will  not  have 
him — 
I  handed  him  the  pie,  and  he  swallowed  a  fly. 
And  his  old  boots  was  a-leaking. 


20  NORTH  CAROLINA  FOLKLORE 

2  My  mama  told  me  to  hand  him  a  fish. 

I  handed  him  a  fish  and  he  swallowed  the  dish. 

3  My  mama  told  me  to  put  him  to  hed. 

1  put  him  to  hed  and  he  lay  like  he  was  dead. 

4  My  mama  told  me  to  saddle  his  horse. 

I  saddled  his  horse,  and  he  rode  off  north. 

5  My  mama  told  me  to  bid  him  farewell. 

I  bid  him  farewell,  and  I  wished  him  to  hell. 


lo 
When  I  \\'as  a  Young  Girl 

This  was  originally  a  children's  singing  game;  many  texts  from 
various  parts  of  England  are  given  by  Lady  Gomme  (Gomme  ii 
362-74).  In  this  country  it  is  most  often  a  piece  of  social  satire, 
as  it  is  in  our  text.  What  holds  the  various  texts  together  is  the 
"this-a-way  that-a-way"  refrain.  This  refrain  structure,  however, 
has  also  been  used  in  certain  cunmlative  songs  of  farm  sounds, 
concerning  which  see  'McDonald's  Farm'  in  this  volume.  A  song 
of  somewhat  related  content.  'When  I  Was  a  Maid'  (to  be  found 
in  JFSS  VIII  148-50),  is  distinguished  from  the  song  here  under 
consideration  by  the  absence  of  the  "this-a-way  that-a-way''  re- 
frain. Our  song  is  known  in  various  parts  of  America:  in  On- 
tario (JAFL  XXXI  151  ).  \"irginia  (FSV  169-70).  Kentucky 
(SFLQ  II  1 61 -2;,  Indiana  (JAFL  xxix  189-90 — see  the  accom- 
panying bibliographical  note — and  SFLQ  iii  221-2),  and  Ohio 
(JAFL  XL  15,  a  reduced  form  of  two  stanzas). 

'When  I  Was  a  Young  Girl.'     Obtained   from  Catharine   Cox  of  Salis- 
bury, Rowan  county.     Not  dated.     With  the  tune. 

1  When  I  was  a  youngs  girl,  yotmg  girl,  ^oung  girl. 
When  I  was  a  young  girl,  then,  oh  then 

'Twas  ha  ha  this-a-way,  ha  ha  that-a-way, 
This-a-way,  that-a-way  then. 

2  Boys  came  courtin',  courtin',  courtin'. 
Boys  came  courtin' ;  then,  oh  then 
'Twas  ha  ha  this-a-way,  ha  ha  that-a-way, 
This-a-way.  that-a-way  then. 

3  Then  I  got  married,  married,  married. 
Then  I  got  married  ;  then,  oh  then 
'Twas  ha  ha  this-a-way,  ha  ha  that-a-way, 
This-a-way,  that-a-way  then. 

4  Then  I  had  a  c|uarrel,  (|uarrel,  f|uarrel. 
Then  1  had  a  c|uarrel ;  then,  oh  then 


C  ()  V  R  T  1  N  c     s  n  N  C,  S  21 

'Twas  i^ft  away  this-a-u  aw  i^et  away  thal-a-way. 
This-a-wav,  that-a-way  tluii. 

5  Then  1  niadr  uj).  up,  up. 
Tlu'ii   1  iiiadf  up:  theu,  oh  iheu, 

And   "twas    (smack,   smack)    this-a-way,    (smack,   smack) 

ihat-a-way. 
This-a-wav,  that-a-wa\-  ihcn. 

6  Then  lie  got  sick,  sick,  .sick. 
Then  he  got  sick ;  then,  oh  then 

'Twas  dear  doctor  this-a-vvay.  (k-ar  (kictor  tliat-a-\\a\-. 
This-a-way.  that-a-way  then. 

7  Then  he  died,  died,  (Heck 
Then  he  died ;  then,  oh  then 

Twas   (sniff,  sniff)   this-a-vvay,   (sniff,  sniff)   that-a-way, 
This-a-way,  that-a-way  then. 

8  Going  to  the  funerak  funerak  funeral. 
Going  to  the  funeral ;  then,  oh  then 

'Twas   (sniff,  sniff)   this-a-way,    (sniff,  sniff)   that-a-way, 
This-a-way.  that-a-way  then. 

9  Coming  from  the  funeral,  funeral,  funeral. 
Coming  from  the  funeral — then,  oh  then 
'Twas  ha  ha  this-a-way,  ha  ha  that-a-way, 
This-a-way,  that-a-way  then. 

II 
Where  Are  You  (ioiNO,  Mv  Pretty  Maid? 

This  sunj(  of  the  milkmaid,  still  remembered  in  iMiglaiul — 
Somerset  and  Devon  (JFSS  ii  9-10),  \'orkshire  (JFSS  11  J70)  — 
is  known  in  various  parts  of  English-speaking  America:  New- 
foundland (  BSSN  138-g).  New  Jersey  (JAFL  Lii  58-9.  a  some- 
what lewd  derivative),  X'irginia  ( SharpK  11  156-8),  Mississippi 
(JAFL  XXXIX  150-1,  FSM  277-8).  Missouri  (OFS  i  330).  Ohio 
(  BSO  188-90).  Nebraska  (ABS  228-30).  The  content  of  the 
various  texts  varies  considerably,  but  they  may  all  l)e  considered 
forms  of  the  same  song.     There  are  two  in  our  collection. 

A 

'Seventeen  Come  Sunday.'  Sent  in  by  .Mrs.  Sutton,  witb  the  following 
account  of  the  singer :  •  1  1 

"Over  beyond  Sugar  Loaf  in  Henderson  County  there  lives  an  old 
man  who  sings  ballits.  He  makes  whiskey,  too,  or  did,  and  spent  a 
good  deal  of  time  in  Atlanta.  He  has  a  cabin  to  which  we  couldn't  go 
with  the  car.  . 

"We  parked  way  up  on  a  hillside  and  climbed  down  a  steep  winding 
path    between    laurel    thickets    and    found    him    sitting   (jii    the    woodpile 


22  NORTH  CAROLINA  FOLKLORE 

strumming  a  banjo.  He  said  it  was  'too  party  to  waste  time  plowin'.' 
He  also  asked  us  to  'tarry  till  even.'  .  .  .  Not  many  of  his  songs 
were  'fitten  to  sing  before  the  wimmern,'  but  he  accepted  us  as  kindred 
spirits  and  sang  them  anyway.  .  .  .  He  sang  a  number  of  sea  bal- 
lads. .  .  .  He  also  called  the  young  woman  he  was  courting  in  the  hope 
that  she  would  consent  to  becoming  his  fourth  wife  his  'doney.'  Some- 
times he  made  it  'doney  gal.' 

"The  song  he  liked  best  of  those  he  sang  was  'Seventeen  Come  Sun- 
day.' When  he  finished  singing  this  song  he  observed  that  'seventeen 
is  jist  about  the  right  age  to  catch  a  gal.  Ef  she's  older  than  that  she's 
apt  to  be  gittin'  oneasy  and  it  comes  too  easy.'  We  asked  him  if  the 
'doney'  he  had  now  was  over  that.  He  said  she  was.  'When  a  feller 
gits  as  old  and  wore  out  as  I  am  he  near  'bout  has  to  take  him  a  gal 
off'n  the  cull  list,'  he  remarked  philosophically.  'I've  had  me  three 
young  wives,  and  this  un  I'm  a-courtin'  now  ain't  fur  from  the  whit- 
leather  stage.     But,  at  that,  she  ort  to  outlast  me.'  " 

1  'Where  are  yoti  going,  my  pretty  maid? 
Oh,  where  are  you  going,  my  honey  ?' 
She  answered  me  most  modestly, 

'An  errand  for  my  mommy.' 

2  'How  old  are  you.  my  pretty  maid  ? 
How  old  are  you,  my  honey  ?' 

She  answered  me  most  modestly, 
'I'm  seventeen  come  Sunday.' 

3  'Where  do  you  live,  my  pretty  maid  ? 
Where  do  you  live,  my  honey?' 

She  answered  me  most  modestly. 
'In  a  cottage  with  my  mommy.' 

4  'Will  you  marry  me.  my  pretty  maid? 
Will  you  marry  me.  my  honey  ?' 

She  answered  me  most  modestly, 
'If  it  wasn't  for  my  mommy.' 

B 

'Where  Are  You  Going,  My  Pretty  Fair  Maid?'  From  a  manuscript 
notebook  of  Mrs.  Harold  Glasscock  of  Raleigh  lent  to  Dr.  White  in 
December  1943.  Most  or  all  of  her  songs  Mrs.  Glasscock  learned  from 
her  mother. 

1  'Where  are  you  going,  my  pretty  fair  maid  ? 
Where  are  yoti  going,  my  honey  T 

She  answered  me  with  a  'Ha  ha  ha, 
I'm  going  to  see  my  mammy.' 

Tum  a  hoo  ra  ra  tum  a  hoo  ra  ri 

Turn  a  hoo  ra  raddle  dick  a  dandy. 

2  Her  shoes  were  black  and  her  stockings  were  white 
And  her  buckles  shone  like  silver ; 

She  had  a  dark,  rolling  eye 


c  o  i'  K  T  I  X  (i    s  o  N  c;  s  23 

And  luT  hair  luiui;  nuiud  her  shoulder. 
Tiitii  a  hoo  ra  ra  imu  a  hoo  ra  ri 
Tuni  a  hoo  ra  raddle  dick  a  dandy. 

3     "Will  \-on  have  me,  ni\-  pretty  fair  maid? 
Will  you  have  me,  my  honey  ?' 
She  answered  me  with  a  'lia  ha  ha, 
I'll  have  most  anybody.' 

Tum  a  hoo  ra  ra  tum  a  hoo  ra  ri 

Tum  a  hoo  ra  raddle  dick  a  dandy. 

12 
]\Iadam,  I  Have  Gold  and  Silver 

Here  a  very  familiar  courtin.q;  (lial(\s:ue  is  turned  unexpectedly  in 
the  last  stanza  into  a  returne(l-(lis,s:uise(l-lover  story.  Up  to  the 
last  stanza  our  text  is  very  close  to  one  from  Sussex  given  in  JFSS 
IV  297-8.  For  the  more  customary  form  of  the  song  and  references 
to  its  occurrence  in  England  and  America,  see  BSM  506.  and  add 
Indiana  (SFLQ  in  206). 

'Seven  Long  Years.'  Reported  by  Mrs.  R.  D.  Blacknall  of  Durham, 
with  the  note:  "Sung  by  a  Negro  servant,  .Maria  McCauley,  presumably 
ex-slave  of  the  Chapel  Hill  McCauleys.  Heard  forty-five  years  ago." 
Mrs.  Daisy  Jones   Couch  of  Durham  remembered  the   first  stanza  only. 

1  'O  madam,  I  have  gold  and  silver, 

O  madam,  I  have  both  house  and  land. 
O  madam,  I  have  this  world  of  treasure 
And  you  may  use  them  at  your  conunand.' 

2  'Oh,  what  care  I  for  your  gold  and  silver? 
Oh,  what  care  I  for  your  house  and  land.-' 
Oh,  what  care  I  for  your  world  of  treasure 
\\'hen  all  I  want  is  a  handsome  man  ?' 

3  '(  )  madam,  don't  place  your  love  on  beauty, 
lM)r  beauty  is  a  thing  that  will  decay  : 

Just  like  a  rose,  pulled  soon  in  the  morning. 
That  before  noon  will  fade  away.' 

4  '(  )h.  my  true  love's  gone  over  the  ocean  ; 

Oh,  seven  long  years  he's  been  gone  from  me. 
But  seven  more  I'll  wait  for  him. 
If  his  dear  face  I  ever  shall  see.' 

5  'The  ripest  fruit  soonest  is  rotten  ; 
The  hardest  love  soonest  is  cold. 

That  young  man's  love  is  soon  forgotten, 
So.  niv  dear  miss,  don't  speak  so  bold!' 


24  NORTH  CAROLINA  FOLKLORE 

6     That  look,  that  voice  were  so  famihar 
Her  lovely  face  turned  pale  as  clay ; 
She  spied  the  ring  upon  his  finger — 
And  on  the  ground  she  swooned  away. 


13 
One  Morning  in  May 

For  something  of  the  history  of  this  song — more  commonly 
known  as  'The  Nightingale' — and  its  currency  in  tradition,  see  BSM 
239,  and  add  to  the  references  there  given  Kentucky  (FSKH 
20-1),  Florida  ( SFLQ  viii  171-2),  Arkansas  (OFS  i  268),  Mis- 
souri (OFS  I  266-8,  288-9),  Ohio  (SFLQ  11  154-5,  BSO  230), 
and  Tennessee  (BTFLS  vi  34-5,  a  text  and  tune  recorded  in  Ten- 
nessee but  learned  in  Nebraska).  One  of  our  versions  was  sung 
by  a  schoolgirl  in  the  sixth  grade.  Very  likely  many  sing  it  with 
no  understanding  of  its  original  meaning. 


'One  Morning  in  May.'  Reported  by  Mrs.  Sutton  from  the  singing  of 
Myra  Barnett,  who  knew  so  many  of  the  old  songs.  Mrs.  Sutton  says 
she  has  never  run  into  it  except  in  Caldwell  and  Avery  counties  (Myra 
came  from  the  Brushy  Mountains  in  Caldwell)  ;  but  it  is  reported  also 
from  Watauga  and  Montgomery  counties,  and  is  in  fact  very  widely 
known  in  the  southern  Appalachians. 

1  One  morning,  one  morning,  one  morning  in  May 
I  spied  a  fair  couple  a-making  their  way  ; 

But  one  were  a  lady  and  the  other  a  soldier 
Who'd  fit  in  the  wars,  a  free  volunteer. 

2  'Good  morning,  good  morning,'  the  lady  she  said. 
'Good  morning,  good  morning,'  the  soldier  replied. 
'I'm  happy  fur  to  meet  you  here  this  morning, 
'Though  you  are  a  lady  and  I'm  a  soldier.' 

3  They  took  hand  and  hand  and  went  on  together. 
But  where  they  did  go,  that  I  do  not  know  where. 
Then  said  the  lady.  'Let's  go  to  the  spring. 

Where  the  waters  are  sliding  and  the  nightingales  sing.' 

4  'Now  stop,'  said  the  soldier,  T'll  tell  you  a  riddle.' 
And  out  of  his  knapsack  he  drew  a  fine  fiddle. 
He  tuned  up  his  fiddle  to  a  common  high  string 

And  played  by  tiie  waters  where  the  nightingales  sing. 

5  Then  said  the  soldier.  'We'll  soon  have  to  part.' 
'No,  no,'  said  the  lady,  'play  that  tune  once  more.' 
He  tuned  up  his  fiddle  to  a  common  high  string 
And  played  the  tunc  over  and  over  again. 


c  0  r  K  T  I  N  (.    so  N  c;  s  25 

Then  said  tlic  lady,  'Wnn't   mhi  iiian\-  nu'?' 

'No.  no.'  said  the  soUhcr.  "that  never  can  he. 

I've  a  wife  in  Mair  Manders,  little  children  there's  three, 

As  pretty  little  children  as  you  ever  did  see. 

'h^iir  damsel,  fair  damsel,  take  warning  hy  nie 
And  when  yim  see  soldiers  don't  love  them  so  free. 
I've  a  wife  in  Flair  Flanders,  little  children's  there's  three. 
As  j)retty  a  little  woman  as  you  ever  did  see. 

'Fll  <^o  hack  to  h'lair  hdanders.  I'll  stav  there  one  _\ear. 

in  the  place  of  cold  water,  my  drink  will  he  heer. 

And  when  I  return,  it'll  he  in  the  sprin<;. 

\\  here  the  waters  run  slidinc^  and  the  ni^htinc^ales  sing.' 


'One  .Morning  in  .\hiy.'  Cdntrihuted  hy  Miss  Jewell  Rol)l)ins  of  Pekin, 
the  last  stanza  into  a  returned  disguised  lover  story.  Up  to  the 
war'  may  be  the  editor  does  not  know. 

1  As  I  walked  out  one  UKjrning.  one  uKjrning  in  May. 
I  spied  a  nice  couple  a-reaping  of  hay; 

One  was  a  lady,  a  lady  so  fair. 

.\nd  the  other  a  soldier  of  the  grand  jin"\'  war. 

2  '(Jh.  now.'  .said  the  lady,  'will  you  marry  nie?' 
'Uh  no.'  said  the  soldier.  "1  can't  marry  you. 
I've  a  wife  in  the  army  and  children  I've  three 
.And  as  beauteous  a  lady  as  ever  you'll  sec.' 

3  "Uh,  now,'  said  the  lady,  "pla}-  me  one  more  tune.' 


He  tuned  his  fiddle  to  a  very  high  strain 
And  played  the  tune  over  again  and  again. 


'One  Morning  in  May.'  Reported  iiy  Professor  W.  Amos  .\hrams  as 
sung  hy  a  sixtli  grade  schoolgirl  at  Boone.  Watauga  county,  in  Septem- 
her.  19.37.     The  text  docs  not  differ  significantly  from  .\. 


'One  Morning  in  May.'     Contriiiuted  l)y   .Miss  Lizzie  h'inclicr  from   .Mon- 
roe. L'nion  county,  some  time  in  1921-2.     The  first  stanza  only. 

No.  Sir 

This  courting  song,  also  known  as  'My  Father  was  a  .Spanish 
Merchant.'  goes  back  with  some  changes  in  the  course  of  time  to 
the  seventeenth  century  and  has  been  many  times  printcfl  in  popular 
songbooks;   see    Kittredge's   very   thorough   bibliographical    note   to 


26  NORTH  CAROLINA  FOLKLORE 

Tolnian's  Ohio  texts,  JAFL  xxxv  406-7.  In  some  texts  it  shows 
contamination  with  'Madam,  I  Have  Gold  and  Silver.'  It  has  been 
reported  as  traditional  song  from  Virginia  (FSV  237),  Kentucky 
(BKH  81;  TKMS  98-101  may  be  reckoned  a  form  of  it),  Ten- 
nessee (BTFLS  III  96),  Arkansas  (OFS  iii  104-5),  Ohio  (JAFL 
xxxv  405,  BSO  146).  Indiana  (Wolford  73-4,  as  a  play-party 
song),  and  Iowa  (MAFLS  xxix  44)  ;  it  is  listed  in  Miss  Pound's 
syllabus:  forms  of  it  appear  in  Sharp's  One  Hundred  English  Folk 
Songs  and  in  JFSS  iv  208  (Dorset)  ;  and  it  is  no  doubt  known  and 
sung  much  more  widely  than  this  list  would  indicate. 

A 

'O  No,  John.'  From  tlie  manuscripts  of  Obadiah  Johnson  of  Cross- 
nore.  Avery  county.  This  is  much  tlie  fullest  of  our  North  Carolina 
versions. 

1  On  yonder  hill  there  stands  a  creature, 
Who  she  is  I  do  not  know ; 

I'll  go  and  court  her  for  her  heauty. 
She  must  answer  yes  or  no. 

O  no,  John  !     No.  John  !     No.  John  !     No  ! 

(This  is  the  refrain  line,  sung  in  the  person  of  the 
girl  after  each  stanza  stmg  hy  the  man.) 

2  'My  father  was  a  Spanish  captain. 
\\  ent  to  sea  a  month  ago. 

First  he  kissed  me.  then  he  left  me; 
Bid  me  always  answer  No !' 

3  '()  madam,  in  your  face  is  heauty, 
On  your  lips  red  roses  grow. 
Will  you  take  me  for  your  lover? 
Madam,  answer  yes  or  no. 

4  'O  madam,  I  will  give  you  jewels, 
I  will  make  you  rich  and  free, 

I  will  give  you  silken  dresses. 
Madam,  will  you  marry  me? 

5  '( )  madam,  since  you  are  so  cruel 
And  that  you  do  scorn  me  so, 

If  I  may  not  be  yotir  lover. 
Madam,  will  yoti  let  me  go? 

6  'Then  I  will  stay  with  you  forever 
If  you  will  not  be  unkind. 
Madam,  I  have  vowed  to  love  you ; 
Would  you  have  me  change  my  mind? 

7  'O  hark!     I  hear  the  church  bells  ringing; 
Will  vou  come  and  be  mv  wife? 


C  O  V  R  T  I   X  C      S  ()  N  V.  S  27 


Or,  dear  niadani.  have  voii  settk-d 
T(i  Vwv  >ini>lL'  all  \(mr  life?' 


'No.  Sir."  I'Voiii  tlic  inaiiu^cript  songbook  of  Miss  Lura  Wagoner  of 
Vox,  Allt'gliany  county,  lent  to  Dr.  Brown  in  1936;  tlic  entries  in  the 
book  were  probal)ly  made  some  twenty  or  more  years  earlier. 

1  'Tell  iiie  one  thing,  tell  me  truly, 
Tell  nie  why  you  scorn  nie  so. 
Tell  nie.  when  1  ask  a  (luestion. 
Yon  will  always  answer  No.' 

Chorus: 

No,  sir,  no,  sir,  no,  sir,  no,  sir, 
No.  sir.  no.  sir,  no.  sir.  no. 

2  'My  father  was  a  Spanish  merchant, 
And,  before  he  went  to  sea, 

He  told  me  to  be  sure  and  answer 
"No"  to  all  you  said  to  me.' 

3  'If,  when  walking  in  the  garden. 
Plucking  flowers  all  wet  with  dew, 
Tell  me.  would  you  be  offended 

I  f  1  walk  and  talk  with  you  ? 

4  'If,  when  walking  in  the  garden, 
I  should  ask  you  to  be  mine 

.\nd  should  tell  you  that  I  love  you, 
Would  vou  then  mv  heart  decline?' 


'Spanish  Merchant."  Obtained  liy  G.  D.  Harmon  from  W.  K.  Harris 
of  Union  Mills,  Rutherford  county.  Same  as  B  except  tliat  it  lacks  tlie 
first  stanza. 

D 

'No,  Sir !'  Obtained  from  Aura  Holton  of  Durham  in  1922.  The  text 
as  in  C,  with  direction  that  the  chcjrus  is  to  be  sung  by  the  boy  and 
the  girl  together.     Seems  to  be  a  play-party  song. 


Courting  Song 

I*"()lk  >inj^ers  in  America  are  not  averse  to  social  satire  of  the 
sort  of  wliicli  this  song  is  an  example.  The  'Song'  is  reported 
also  in  Florence  H.  Botsford's  Collection  of  Folk-Soiujs  1  31  from 
Kentucky.  For  references  to  other  songs  of  a  like  temper  in  \'ir- 
ginia.  West  Virginia,  North  Carolina.  Missouri.  Nebraska,  and 
Wyoming,  see   BSM  426-8,  and  add  to  the  references   there  given 


28  NORTH  CAROLINA  FOLKLORE 

Florida  (SFLQ  viii  192-3)  and  Iowa  (MAFLS  xxix  96-7)  and 
for  Negro  song  JAFL  xxiv  285.  See  also  'When  Young  ^len 
Go  Courting'  and  'If  You  Want  to  Go  A-Courtin' '  in  the  section 
of  Satirical  Songs  in  this  volume. 

'Courting  Song.'  Collected  by  Mrs.  Sutton  on  the  Watauga  River  near 
the  Tennessee  line,  from  the  singing  of  a  schoolteacher  with  whom  she 
spent  the  night — which  included  an  amusing  example  of  the  technique 
described  in  the  song;  see  page  5,  above.  The  last  line  of  each  stanza  is 
repeated  as  indicated  in  stanza  i. 

1  A  gentleman  came  to  see  me. 
He  couldn't  tell  his  name. 

I  knew  he  came  a-courting 
Although  he  was  ashamed. 
Oh,  although  he  was  ashamed. 

2  He  drew  his  chair  up  by  my  side. 
His  manner  pleased  me  well. 

I  hoped  the  spirit  moved  him 
A  loving  tale  to  tell. 

3  And  there  he  sat  the  livelong  night 
And  not  a  word  did  say. 

With  many  a  sigh  and  hitter  groan 
I  often  wished  for  day. 

4  The  chickens  they  began  to  crow. 
The  daylight  did  appear. 
'Howdy  do,  good  morning,  sir. 
I'm  glad  to  see  yoti  here.' 

5  He  was  weary  of  the  livelong  night. 
He  was  weary  of  his  life. 

'H  this  is  what  yoti  call  courting,  boys. 
I'll  never  take  a  wife.' 

6  Whenever  he  g(jes  in  company 
The  girls  all  lavigh  and  sport ; 

They  say.  'There  goes  a  blamed  old  fool 
Who  don't  know  how  to  court. 
Oh,  he  don't  know  how  to  court.' 

]6 

Don't  STA^■  after  Ten 

On  the  same  U)\nc  as  tlie  'Courting  .Song,"  just  given.  It  is  re- 
ported in  the  Pound  svllahus.  and  hv  Randolph  from  Arkansas 
(OFS  III  86-7). 

A 

'Don't  Stay  after  Ten.'     An  anonymous  manuscript  in  Dr.  Brown's  hand. 


c  ()  r  R  T  1  N  (;    s  ()  N  c.  s  29 

no  doubt  collected  liy  liini  frmii  >oine  of  his  infi)rmaiits  l)ut  jtccideiUaliy 
left  witlioiit  notation  of  its  source.  Altlmugii  aimnyinous,  it  is  n'^en  here 
because  it  lielps  to  make  tlic   H  text  inteliiKible. 

1  Tlicrc  is  oiu'  rc(|ticsl   I   make  ot  yoii 
\\  lu'ii  nic  yoii  come  to  see. 

\'()ii  know  thei'e  is  none  in  all  this  world 

That's  half  so  dear  to  me; 

I  hit  this  request  1  make  of  }<iu. 

That  when  you  come  again 

To  see  me  in  the  afternooti. 

Don't  stay  till  after  ten. 

Chorus: 

Don't  stay  till  after  ten.  my  boy, 
Don't  stay  till  after  ten. 
But  come  again  some  other  time 
And  don't  stay  till  after  ten. 

2  For  after  ten  the  moments  fly  ; 
I  tremble  o'er  and  o'er 

Till  last  ma's  image  1  shall  spy 
Come  creeping  to  the  door. 
She's  there  to  execute  her  threats : 
She  said  she'd  surely  come 
And  if  you  stayed  so  late  again 
She'd  ask  you  to  go  home. 

3  Next  morning  down  to  breakfast  I'd  go. 
My  papa  would  frown  at  me 

And  say.  'My  girl,  that  beau  of  yours 

Is  going  to  hear  from  me. 

That  sort  of  thing  I  will  not  stand, 

But  when  he  comes  again 

I'll  just  walk  in  and  ask  him  out 

If  he  don't  go  home  by  ten.' 

B 

'Oh,  Don't  Stay  after  Ten."  From  the  manuscript  hook  of  songs  of 
Miss  Edith  Walker  of  Boone,  Watauga  county:  secured  in  1936.  The 
first  two  lines  of  stanza  2  are  confused,  or  at  least  confusing. 

I      I've  something  sad  to  say  to  yott 
.\nd  when  he  comes  again 
To  meet  in  the  evening 
And  don't  stay  after  ten. 

Chorus: 

(Jh.  don't  stay  after  ten,  my  dear. 
Oh,  don't  stay  after  ten ; 


30  NORTH     CAROLINA     I'OLKLORE 

To  meet  in  the  evening 
And  don't  go  home  at  ten. 

2  And  when  he  comes  again  (and  stays) 
(They  say)  and  don't  go  home,  why  then 
They'll  just  step  in  and  ask  him  out 

If  he  don't  go  home  at  ten. 

3  For  after  ten  the  moments  fly ; 
I  tremble  o'er  and  o'er 
When  mama  to  the  dark  spot 
Comes  peeping  through  the  door. 

4  To  the  breakfast  table  next  morning  I'll  go 
And  papa  will  frown  on  me 

And  say,  'My  daughter,  that  beau  of  yours 
Is  going  to  hear  from  me.' 


17 
I  Wouldn't  Marry 

For  the  range  of  songs  on  this  theme,  see  BSM  262  and  add  to 
the  references  there  given  Massachusetts  (FSONE  211-12).  Vir- 
ginia (SharpK  11,  381-2.  FSV  174-5).  Kentucky  (SFLQ  11  1S3). 
Tennessee  (BTFLS  11  11,  v  38),  North  Carolina  (BTFLS'ii 
II),  Arkansas  (OFS  iii  64,  65,  128).  Missouri  (OFS  11  351-2.  iii 
65.  259-60),  Ohio  (BSO  186-7^.  298-9),  Indiana  (SFLQ  in  213-4), 
Michigan  (BSSM  420-1).  and  Wisconsin  (JAFL  lii  20.  from 
Kentucky).  Mrs.  wSteely  found  three  forms  of  it  in  the  Ebenezer 
community  in  Wake  county.  Scotland  knows,  or  knew,  two  songs 
on  this  subject  (Christie  i  141-2,  182-3),  but  it  is  doubtful  that 
they  are  the  ancestors  of  any  of  the  American  forms.  The  texts 
may  conveniently  be  presented  in  three  groups :  those  in  which  the 
man  speaks,  those  in  which  the  woman  speaks,  and  a  composite  (or 
antipbonal )  form  in  which  now  the  man  speaks  and  now  the  woman. 
Some  of  the  texts  are  conglomerates  of  fragments  often  distantly 
connected,  if  at  all,  with  the  theme  of  celibacy 

A 

'Laurie   Lee.'     Communicated,   about    1923,   by   Miss   Kate   S.   Russell   of 
Roxboro,  Person  county. 

1  Wouldn't  marry  an  old  maid 
Tell  you  the  reason  why  : 
Her  neck  so  long  and  stringy 
I'm  scared  she'd  never  die. 

2  June  bug  got  the  golden  wing, 
Lightning  l)ug  the  flame. 
Bedbug  got  no  light  at  all 

But  he  gets  there  just  the  same. 


C  O  V  K  T  1   N  C      S  0  N  G  S  3I 

3  Rich  <^Mrl  wears  \hv  ruftk'  dress, 
Poor  girls  wear  the  i)hiin. 

Eve  wore  no  ch'ess  at  all 

IJiit  she  got  there  just  tlu'  same. 

4  Raccoon  got  the  husln-  tail. 
Possum  tail  is  hare  ; 
Rahhit  got  no  tail  at  all, 
Nothing  hut  a  hunch  of  hair.' 


'I  Wouldn't  Marry  an  Old  .\hiid.'     l->om  Ijuille  Massey,  Durliani.     Xot 
dated. 


1  I  wouldn't  marry  an  old  maid, 
Pll  tell  you  the  reason  why: 
Her  neck  is  so  long  and  stringy 
1  fear  she'd  never  die. 

2  I  wouldn't  marry  an  old  maid. 
I'll  tell  you  the  reason  why: 

She'd  stick  her  nose  in  a  pone  oi  hread 
And  call  it  chicken  pie. 

3  I  wouldn't  marry  a  rich  girl, 
Pll  tell  you  the  reason  why : 
She  is  crazy  to  wash  her  clothes 
And  hang  them  out  to  dry. 


No  title.     From   Lucille  Cheek  of  Chatham  county.     First  stanza  only, 
as  in  B. 


'I  Wouldn't  Marry.'  Collected  by  Julian  P.  Boyd  from  Catherine  Ben- 
nett, one  of  his  pupils  in  the  school  at  Alliance,  Pamlico  county.  A 
single  stanza,  the  same  as  the  first  stanza  ui  B  witli  "poor  sal"  sub- 
stituted for  "old  maid." 


'I  Wouldn't  Marry.'  From  W.  B.  Leake  of  Rich  Square,  Northampton 
county.  .Again  a  single  stanza,  the  first  of  B,  with  "city  gal"  substi- 
tuted for  "old  maid." 


'A  Farmer  Boy.'     From  Miss  Mamie  Mansfield,  Durham,  in  Juls    i<)22. 
With  this  we  turn  to  texts  in  which  the  woman  speaks. 

^  Manuscript  has  "hare"  ;  whether  the  pun  really  belongs  in  the  song 
or  is  the  momentary  inspiration  of  the  writer  of  the  manuscript  the  editor 
does  not  know.  This  fourth  stanza  will  reappear  in  the  section  on  Bird 
and  Beast  Jingles. 


32  NORTH  CAROLINA  FOLKLORE 

1  I  love  to  wash  the  dishes, 
I  love  to  sweep  the  floor. 

I  love  to  kiss  that  pretty  little  boy 
Behind  niv  parlor  door. 

Chorus: 

A  farmer's  boy,  a  farmer's  boy, 
He's  the  one  for  nie ; 
If  ever  1  get  married 
A  farmer  bride  I'll  be. 

2  I  love  to  feed  the  chickens, 
I  love  to  milk  the  cow. 

I  love  to  hear  that  farmer  boy 
Come  whistling  from  the  plow. 

3  I  wouldn't  marry  a  preacher, 
I  tell  you  the  reason  why 

He  stands  upon  the  pulpit 
And  makes  the  people  cry. 

4  I  wouldn't  marry  a  doctor, 
I  tell  you  the  reason  why 
He  goes  all  over  the  country 
And  makes  the  people  die. 

5  I  wouldn't  marry  a  blacksmith, 
I  tell  you  the  reason  why 

His  neck  is  so  long  and  thin 
I  am  afraid  he'll  never  die. 


'Farmer  Boy  for  Me.'  Sung  by  Miss  Annie  Hanilen  (later  Mrs.  E.  S. 
Swindell),  Durham.  Three  stanzas  and  chorus.  The  first  two  stanzas 
and  the  chorus  the  same  as  the  chorus  and  stanzas  4.  3  of  F ;  the  third 
stanza  is  new : 

I  would  not  marry  a  lawyer. 
I'll  tell  you  the  reason  why  : 
He  gets  up  on  the  stand 
And  always  tells  a  lie. 

TI 

'I'm  Determined  to  Be  an  Old  Maid."  From  Gertrude  Allen  (later 
Mrs.  Vaught),  Taylorsville,  Alexander  county.  Here  tlie  familiar  "I'm 
determined  to  he  an  old  maid"  drifts  in  the  last  stanza  to  the  "farmer 
hoy"  theme  of  F.     Tiie  tune  was  taken  down  by   Miss  N'ivian  Blackstock. 

1      I'll  not  marry  a  man  that's  rich, 

Vov  he'll  get  drunk  and  fall  in  a  ditch  ; 


CO  r  K  r  I  N  (i    s  ()  N  c;  s  33 

Sei  I'll  \\u[  inair\   at  all, 
I'll  iKil  many  at  all. 

Chorus: 

I'm  (k-tcrmiiu'd  to  he  an  old  maid; 
I'll  take  my  stool  and  sit  in  the  shade, 
And  I'll  not  marry  at  all, 
I'll  not  marrv  at  all. 

2  I'll  not  marry  a  man  that's  poor, 
He'll  go  hegging  from  door  to  door; 
So  I'll  not  marry  at  all. 

I'll  not  marry  at  all. 

3  I'll  not  marry  a  man  that's  young. 

For  he'll  deceive  with  a  flattering  tongue ; 
So  I'll  not  marrv  at  all, 
I'll  not  marry  at  all. 

4  I'll  not  marry  a  man  that's  old. 

For  he'll  do  nothing  hut  sit  and  scold; 
And  I'll  not  marry  at  all, 
I'll  not  marry  at  all. 

5  But  I  will  marry  a  farmer's  hoy. 
For  he  will  always  have  employ  ; 
So  I  will  marrv  after  all,  after  all. 


'Farmer's    Wife    I'll    Be.'      Reptjrted   by    W.    B.    Covington   as    Iieard   in 
Scotland  county.     Two  lines  only  : 

Farmer's  wife,  farmer's  wife,  farmer's  wife  I'll  ])e. 
If  I  ever  marry  in  my  life,  farmer's  wife  I'll  he. 


'I  Won't  ^^a^^y  at  All.'  Sent  in  by  the  Reverend  J.  M.  Downiim  as 
obtained  from  Alex  Tiigman  of  Todd,  Ashe  county,  in  1922.  Six  stanzas 
and  chorus.  Chorus  and  stanzas  i,  2,  3,  4  as  in  H  chorus  and  stanzas 
4.  3,  2,  I  ;  the  last  two  stanzas  introduce  new  matter : 

3      I  won't  marry  a  man  named  l)ill 
Though  he  loves  me  fit  to  kill ; 
I  won't  marry  at  all, 
I  won't  marrv  at  all. 

6     I  won't  marry  a  man  named  Ned 
Tho  he's  sweet  as  gingerhread  ; 
I  won't  marry  at  all, 
I  won't  marry  at  all. 

N.C.F.,  Vol.  HI,   (5) 


34  NORTH  CAROLINA  FOLKLORE 


'I   Won't    Marry   at   All.'     From   Ethel    Brown,    Catawba   county.     The 
chorus  and  stanzas  2  and  i  of  H. 


'I'm  Determined  to  Be  an  Old  Alaid.'  Reported  by  Mrs.  Sutton  as 
heard  in  1917  "in  the  mountains."  Evidently  not  complete;  "There 
were  several  other  types  of  men  she  was  determined  not  to  marry."  The 
three  stanzas  given  are  the  chorus  and  stanzas  i  and  2  of  H. 

M 

'An  Old  Man.'  Reported  in  1915  by  Miss  Iris  Chappelle  of  Creedmoor, 
Granville  county,  as  obtained  from  her  mother,  who  learned  it  as  a 
child.  This  and  the  next  two  texts  might  claim  the  status  of  distinct 
songs,  being  devoted  to  the  yovmg  girl's  repugnance  at  the  thought  of 
marrying  an  old  man. 

1  I  would  not  marry  an  old  man. 
I  will  tell  you  the  reason  why : 
His  face  is  always  dirty, 

His  chin  is  never  dry. 

Chorus: 

An  old  man,  an  old  man. 

An  old  man  is  gray. 

But  a  young  man's  heart  is  full  of  love. 

And  away,  old  man,  away. 

2  I  would  rather  marry  a  yotmg  man 
With  an  apple  in  his  hand 

Than  marry  an  old  man 
With  forty  acres  of  land. 

3  I  would  rather  marry  a  young  man 
With  forty  cows  to  milk 

Than  marry  an  old  man 
All  rohed  in  satin  and  silk. 

4  An  old  man  he  comes  creeping  in 
And  says  he's  tired  of  life ; 

But  a  yoimg  man  he  comes  skipping  in 
And  says  'Kiss  me,  my  dear  wife.' 


'I  Would  Not  Marry  an  Old  Man.'  From  the  manuscript  notebook  of 
Mrs.  Harold  Glasscock  of  Raleigh,  lent  to  Dr.  White  in  1943.  The 
songs  in  this  notebook  Mrs.  Glasscock  learned  from  her  parents.  Sub- 
stantially tile  same  as  stanzas  i  and  4  and  the  chorus  of  M,  yet  there 
are  interesting  minor  differences  of  diction; 

T      I  would  not  marry  an  old  m.nn, 
I'll  tell  you  the  reason  why: 


C  0  L'  R  T  I  N  C     S  ()  x  c;  s  35 

J  lis  lip>  arc  always  hanj^iiii;  down 
And  his  (.-hill  is  never  (Irv. 

Chunis: 

An  old  man  is  gray,  an  nld  man  is  gray; 
A  yonng  man's  heart  is  fnll  of  love. 
(i<>  away,  old  man,  go  '\va\'. 

2     An  old  man  comes  htjbhling  in 
Quite  weary  of  his  life; 
A  young  man  conies  skipping  in : 
'Come  kiss  me,  my  dear  wife.' 


'Old   Maid's   Song.'     From   Alexander   Tugman   of  Todd,   Ashe   county. 
Four  stanzas ;  the  first  two  as  in  H,  the  other  two  slightly  different : 

3  I'll  not  marry  a  man  that's  young, 
For  he'll  give  me  a  piece  of  his  tongue; 
And  I'll  not  marry  a-tall,  a-tall. 

And  I'll  not  marrv  a-tall. 

4  I'll  not  marry  a  man  that's  old, 
For  he  will  love  me  less  than  gold ; 
And  I'll  not  marry  a-tall,  a-tall. 
And  Fll  not  marry  a-tall. 

p 

'The  Old  Maid.'     Reported  by   .Xh^s.   Sutton   from   Madison  county,   witli 
one  stanza  not  given  in  L  : 

ril  not  marry  a  man  that's  fat. 
For  he'll  slip  u[)  and  fall  on  a  mat ; 
And  Fll  not  marry  a  tall,  a  tall. 
And  Fll  not  marrv  a  tall. 


'1  Wouldn't  .Marry.'  Rcixjrtcd  In*  Professor  M.  (i.  Fulton  of  Davidson 
College  as  collected  by  \V.  C.  Frierson.  Two  stanzas,  the  i)reaclier  and 
the  doctor,  nearly  the  same  as  in  H,  but  the  objection  to  tlie  preacher 
here  is  not  that  he  makes  people  cry  Init  tliat 

He's  going  all  (ner  the  country 
Er  eatin'  chicken  pie. 

Finally,  two  te.xts  spoken  partly  by  the  man  and  partly  by  tlie  woman. 
Both  of  them  belong  to  the  tradition  of  F  and  (i. 


'I     Wouldn't     Marry.'      Contributed     by    Thomas     Smith    of    Zionville, 
Watauga  county,  in  1915  or  thereabouts.     With  the  tune. 


36  NORTH  CAROLINA  FOLKLORE 

1  I  would  not  marry  an  old  man, 
And  I'll  tell  you  the  reason  why : 
His  nose  is  never  .  .  . 

His  shoes  is  never  dry. 

Chorus: 

A  soldier  boy,  a  soldier  boy, 
A  soldier  boy  for  me. 
H  ever  I  get  married 
A  soldier's  bride  I'll  be. 

2  I  would  not  marry  an  old  maid. 
And  I'll  tell  you  the  reason  why  : 

She  combs  her  head  with  a  fish-backbone. 
And  that  don't  please  my  eye. 

3  I  would  not  marry  an  old  man. 
And  I'll  tell  you  the  reason  why  : 
His  neck's  too  long  and  stringy 
And  I  fear  he'd  never  die. 


'Farmer  Boy.'  Obtained  from  Jennie  Belvin  of  Durham  in  1922.  With 
the  music.  Chorus  and  stanzas  i.  2.  3  as  in  F  chorus  and  stanzas  2,  3, 
4,  and  it  ends  with  these  two  stanzas  : 

4  I  wouldn't  marry  a  lawyer, 
I'll  tell  you  the  reason  why: 
When  he  gets  up  on  the  stand 
He's  bound  to  tell  a  lie. 

5  I  wouldn't  marry  an  old  maid, 
I'll  tell  you  the  reason  why: 
Her  neck's  so  long  and  stringy 
I'm  'fraid  she'll  never  die. 


18 
A  Single  Life 

A    somewhat   sedate   version   of   the    "I    woukhi't    marry"    theme 
which  I  have  not  found  elsewhere. 

'A  Single  Life.'  Reported  by  Vernon  Sechriest  of  Thomasville.  David- 
son county,  as  obtained  from  Mrs.  Augusta  Fonts,  then  seventy-seven 
years  okL 

1      Some  do  say  there  are  good  girls. 
Oh,  where  shall  we  find  them  ? 
Some  do  say  there  are  good  boys. 
But  never  do  you  mind  them. 


c  o  I'  R  T  1  N  (;    s  o  \  c;  s  37 

CItonis: 

A  single  life  I  am  to  live, 
Oh,  single  is  my  glurv  ; 
A  single  life  I  am  to  live. 
Then  who  will  control  me? 

2     They'll  come  to  court  )ou  for  ci  while, 
C  )n  purpose  to  deceive  you ; 

.\ncl  when  they  think  they'\e  j^^ained  your  heart 
They'll  run  away  and  leave  you. 

19 
When  1  Was  Single 

Although  tlie  theme  is  old.  this  song  seems  not  to  l)e.  'lliere  is  a 
sort  of  antecedent  to  it  in  the  U'estviiiistcr  Drollery  of  1672;  see 
Ashton's  Humour  .  .  .  of  the  Serentcoith  Century,  pp.  27-8.  The 
song  is  known  in  England  and  very  widely  in  America,  though  not. 
so  far  as  I  can  find,  in  New  England.  See  BSM  437.  and  add 
to  the  references  there  given  Virginia  (FSV  168-9),  Tennessee 
(BTFLS  V  35-6),  North  Carolina  (FSRA  133),  the  Ozarks  (OFS 
III  66-9),  Ohio  (BSO  181-5),  Indiana  (SFLQ  iv  172),  Illinois 
(JAFL  XL  238-9),  and  Michigan  (BSSM  479,  listed  only).  The 
Archive  of  American  Folk  Song  lists  recordings  of  it  from  Vir- 
ginia, Louisiana.  Arkansas,  and  Ohio.  Mrs.  Steely  found  it  in  the 
Ebenezer  community  in  Wake  county.  Texts  diiYer  chiefly  by  the 
retention  or  omission  of  certain  stanzas.  Frequently  only  a  single 
stanza  is  remembered.  Normally  the  stanza  form  is  the  poulter's 
measure  3-3-4-3.  and  one  suspects  a  fault  in  copying  in  some  of  the 
texts  that  fail  to  show  this  foruL 

For  the  woman's  side  of  the  (|uestion,  see  'I  Wish  I  Was  a 
.*^ingle  Girl  Again'  in  the  section  of  songs  on  drinking  and  ganil)lin"-. 


'When  I  Was  Single.'  From  Miss  Amy  Henderson  of  Worry.  Burke 
county,  in  1914.  Upon  this  text  Dr.  W'hite  has  noted:  "A  iK)])ular 
glee  club  song,  first  lieard  by  me  about  ujo6."  The  first  stanza  sJiows 
the  verse  structure.  Thereafter  only  the  new  part  of  eacli  stanza  is 
given. 

1  Oh !  when  I  was  single,  oh  !  then. 
Oh !  when  I  was  single,  oh !  then. 

Oh!  when  I  was  single  my  pockets  did  jingle. 
And  1  wish  I  was  single  again. 

2  1  married  me  a  wife,  she  was  the  plague  of  my  life. 
And  1  wish  I  was  single  again. 

3  My  wife  took  sick,  and  she  died  pretty  (|uick. 
And  T  was  Ldad  T  was  single  again. 


38  NORTH  CAROLINA  FOLKLORE 

Sometimes  this  third  stanza  is  followed  by  this : 

My   wife   she   got   worse,   and   I    sent   for   a   hearse 
In  hopes  I'd  be  single  again. 

And  sometimes  stanza  3  takes  this  form  : 

My  wife  she  died  and  I  laughed  till  I  cried. 
So  glad  I  was  single  again. 

4     I  married  me  another,  she  was  the  devil's  grandmother. 
And  I  wished  I  was  single  again. 

Instead  of  this  last  stanza  the  following  is  sometimes  sung : 

I  married  me  another,  she  was  worse  than  the  other, 
And  I  wish  I  was  single  again. 


'I  Wish  I  Was  Single  Again.'  From  J.  W.  Miller,  student  at  Trinity 
College  in  1934,  from  Lincoln  county.  This  te.xt  lacks  the  opening 
stanza  and  is  more  detailed  than  A  about  wliat  followed. 

1  When  my  wife  died,  oh  then, 
When  my  wife  died,  oh  then. 

When  my  wife  died  I  laughed  till  I  cried 
To  think  I  was  single  again. 

2  I  went  after  her  cofifin,  just  laughing  and  talking 
To  think  I  was  single  again. 

3  I  went  after  her  shroud,  walking  mighty  proud, 
To  think  I  was  single  again. 

4  I  went  to  her  grave,  but  I  couldn't  behave, 
For  to  think  I  was  single  again. 

5  I  married  another,  but  she  was  worse  than  the  other ; 
Oh,  I  wish  I  was  single  again. 

6  She  beat  me,  she  banged  me,  she  swore  she  would  hang 

me. 
Oh,  I  wish  I  was  single  again. 


'When  I  Was  Single.'  From  Miss  Madge  T.  Nichols,  Durham  county, 
in  1922.  Only  two  stanzas,  "I  married  a  wife"  and  "I  married  an- 
other," and  the  "When  I  was  single"  chorus. 

D 

T  Wish  I  Was  Single  Again.'  From  Bessie  Lou  Mull,  Shelby,  Cleve- 
land county.  This  is  one  of  the  texts  that  seem  to  depart  from  the 
normal  verse  form,  stanza  2  being  written  : 

My  wife  she  died,  (jh  then. 
My  wife  she  died,  oh  then. 


c  ()  u  R  T  1  N  c    SO  N  c;  s  39 

And    1    1;iu|l;Ik'(1  until    1   cried. 
And  1  wish  1  was  single  again. 

r.ut  tlic  first  ami  tlic  last  of  the  six  stanzas  arc  in  the  regular  3-3-4-3 
riiythin.  so  that  one  suspects  tliat  the  other  stanzas  are  niiswritten. 
Stanza  i  is  "I  wish  I  was  single  again,'  'in  stanza  3  he  goes  for  her 
cotl.n,  in  stanza  4  he  marries  another,  stanza  5  tells  iiow  tlie  second 
wife  beat   and   l)anged   him;   the   final   stanza   is   stall-ballad   moralizing: 

So,  boys,  take  warning  from  this, 

So,  boys,  take  warning  from  this  ; 

Be  kind  to  the  lirst.  for  the  last  is  the  worse; 

And  1  wish  1  was  single  again. 


"1    Wish    1    Was    Single    Again."      From    Ailie    Ann    Pearce,    Colerain, 
Bertie  county.     Text  as  in  D. 


"When  1  Was  Single.'  From  Lucille  Massey,  Durham.  Anotlier  text 
which  seems  to  deny  the  3-3-4-3  stanza  structure.  Four  stanzas  :  "When 
I  was  single,"  "I  got  me  a  wife,"  "My  wife  she  died,"  and  "I  went 
for  the  cofiin." 


'I  Wish  I  Was  Single  Again.'  From  Marguerite  Riggs,  Pitt  county. 
Three  stanzas:  "I  wish  1  was  single,"  "I  married  a  wife,"  and  "I 
married  another."     Regular  verse  form. 


'Song.'  From  Mrs.  Nilla  Lancaster,  W'aync  county.  Tliree  stanzas,  in 
the  regular  verse  form :  "I  wish  I  was  single  again,"  "I  married  me  a 
wife,  oh  then,"  and  "My  wife  she  died,  oh  then.'' 

1 

"1  Wish  I  Was  Single  Again.'  From  Miss  Jewell  Robl)ins,  Pekin, 
Montgomery  county,  in  1922.  With  the  tune.  Tliis  siiows  a  slight 
variation  in  the  refrain  : 

1  I  married  a  wife,  aha 
I  married  a  wife,  aha 

I  married  a  wife,  the  bane  of  my  life. 
And  I  wish  I  was  single  again. 

Chorus: 

Then  1  wish  I  was  single  again, 

And  I  wish  1  was  single  again  ; 

If  I  was  single  my  pockets  would  jingle, 

And   1  wisli   1  was  single  again. 

2  I  married  another,  aha 
I  married  another,  aha 


40  NORTH  CAROLINA  FOLKLORE 

I  married  another,  the  devil's  stepmother, 
And  I  wish  I  was  single  again. 


'When  I  Was  Single.'  From  J.  C.  Knox,  Leland,  Brunswick  county. 
With  the  tune.  Five  stanzas,  the  first  four  of  which  correspond  to  the 
first  four  of  A  and  the  fifth  to  stanza  6  of  B. 

The   following   report   but   a   single   stanza,   "I   wish   I    was   single,"   etc. : 

K  From  Gertrude  Allen  (Mrs.  Vaught ) ,  Taylorsville,  Alexander  county. 

L  From  Ethel  Hicks   Buffalo,  Oxford,  Granville  county. 

M  From  Louise  F.  Watkms,  Goldsboro,  Wayne  county. 

N  From  Caroline  Biggers,  Union  county. 

O  From  Katherine  Bernard  Jones,  Raleigh. 

P  From  Louise   Bennett,  Middleboro,  Wayne  county. 

Q  From  Lucille  Cheek,  Chatham  county. 


II 
DRINK    AND    GAMBLING    SONGS 


w 


'INE  AND  WOMEN  have  been  favorite  topics  of  popular 
song  at  least  since  the  days  of  the  Carmina  Burana.  But  in 
North  Carolina  the  women  most  often  appear  as  the  declared  enemies 
of  drink,  and  the  drink  itself  is  for  the  most  part  not  the  juice  of  the 
grape  but  of  the  (often  hidden  and  illicit)  still.  To  take  first  the 
songs  that  came  with  the  temperance  movement  about  the  middle  of 
the^last  century:  some  (The  Drunkard's  Hell,'  'The  Drunkard's 
Doom,'  The  Drunkard's  Dream'— this  last  in  two  quite  difTerent 
forms)  attempt  by  lurid  visions  to  frighten  the  drunkard  from  his 
evil  ways;  'Father.  Dear  Father.  Come  Home  with  IMe  Now'  and 
The  Drunkard's  Lone  Child'  aim  to  tear  his  heartstrings  with  the 
piti fulness  of  innocent  childhood  wrecked  by  his  intemperance;  in 
'Don't  Go  Out  Tonight.  My  Darling'  and  'Be  Home  Early  Tonight' 
the  woman  pleads  in  a  gentler  tone.  In  'Seven  Long  Years  Fve  Been 
IVlarried'  and  'I  Wish  I  Was  a  Single  Girl  Again'  (which  are  closely 
akin  to  the  songs  at  the  end  of  the  preceding  section)  a  woman 
deplores  her  evil  plight  in  being  the  wife  of  a  gambler  and  a 
drunkard : 

Washing  their  little  feet,  putting  them  to  bed; 
In  comes  the  drunkard,  wishing  that  I  was  dead. 
Oh,  Lord,  I  wish  I  was  a  single  girl  again ! 

One  of  these  temperance  songs,  'Lips  That  Touch  Liquor  Must 
Never  Touch  Mine.'  had  a  great  vogue ;  its  refrain  line  became  a 
catchword,  and  is  so  yet.  The  Collection  has  it  in  two  forms,  quite 
different  but  alike  in  that  in  both  the  woman  pits  her  charms  against 
those  of  liquor  and  tells  the  man— with  an  unmistakable  air  of 
triumph— that  he  must  make  his  choice.  'I'm  Alone'  is  the  mono- 
logue of  an  old  man  whose  life  has  been  wrecked  by  drink. 

But  drink  has,  naturally,  its  brighter  side.  'Old  Rosin  the  Beau' 
has  led  a  very  satisfactory  toper's  life  and  now  very  cheerfully 
gives  directions  for  his  burial.  Everybody  knows  'The  Little  Brown 
Jug,'  though  its  component  stanzas  are  seldom  just  the  same  in  any 
two' texts.  'Pass  Around  the  Bottle'  seems  to  be  a  soldier's  march- 
ing song.  'Judy  My  Whiskey  Tickler'  is  a  college  drinking  song 
of  a  hundred  years  "ago.  Two  songs,  'I'll  Never  Get  Drunk  Any 
More'  and  'Show  Me  the  Way  to  Go  Home,  Babe,'  are  the  maunder- 
ings  of  a  drunken  and  happv  lover.     'Pickle  My  Bones  in  Alcohol' 


42  NORTH  CAROLINA  FOLKLORE 

and  'Sticks  and  Stones  I\Iay  Break  My  Bones'  are  favorites  with 
the  Negroes.  'Moonshine'  exalts  the  potency  of  the  mountaineer's 
favorite  tipple,  and  'The  Hidden  Still'  describes  the  place  where  it 
is  made.  And  finally  there  is  a  group  of  songs  that  came  originally, 
one  imagines,  from  the  minstrel  stage:  'Sweet  Cider,'  'A  Little 
More  Cider  Too,'  'Sucking  Cider  through  a  Straw.' 

Gamblers'  songs  are  few.  The  best-known  of  them,  'The  Journey- 
man,' is  not  always  the  song  of  a  gambler;  in  'Jack  of  Diamonds' 
the  gambler  accuses  that  card  of  being  the  cause  of  his  downfall; 
'I  Got  Mine'  is  a  vaudeville  piece  that  has  acquired  wide  currency, 
especially  among  Negroes. 


20 

The  Drunkard's  Hell 

This  contribution  to  the  war  against  the  demon  rum  has  already 
been  reported  from  North  Carolina  (FSSH  378-80,  JAFL  xlv 
55-8),  Tennessee  (FSSH  380-1),  Kentucky  (BKH  no),  Missis- 
sippi   (JAFL   XXXIX    169-70),  and  the   Ozarks    (OFS   11  409-10). 


'The    Drunkard's    Hell.'      Reported    by    Miss    Pearl    Webb    of    Pineda, 
Avery  county,  in  1922. 

1  One  dark  and  starless  night 
I  saw  an  aw f til  sight. 

The  lightning  flashed,  loud  thtmder  rolled 
Across  my  dark,  benighted  soul. 
I  bowed  my  head,  and  saw  below 
Where  all  the  dying  drunkards  go. 

2  My  awful  thoughts  no  tongue  can  tell. 
And  is  this  my  place  and  a  drunkard's  hell? 
I  started  on.  got  there  at  last. 

Thought  I'd  take  one  social  glass. 
I  poured  it  out  and  started  it  well — 
And  then  I  thought  of  a  drunkard's  hell. 

3  I  dashed  it  out  and  left  the  place 
And  went  to  seek  redeeming  grace. 
The  very  moment  that  grace  began 
Ten  thousand  joys  within  me  sprang. 
I  started  home  to  change  my  life, 
To  see  my  long-neglected  wife. 

4  I  found  her  weeping  at  the  bed. 
Because  her  infant  babe  was  dead. 
I  told  her  not  to  cry  or  weep. 


DRINK     AND     GAMBLING     SONGS  43 

Because  her  infant  babe  was  just  asleep; 
Its  little  soul  had  fled  away 
To  dwell  with  God  eternally. 

I  took  her  by  her  white  hand — 

She  was  so  weak  she  could  not  stand — 

1  laid  her  down  and  breathed  a  prayer 

That  God  might  bless  and  save  us  there. 

I  started  to  the  Temperance  Hall 

To  take  the  pledge  among  them  all. 

One  met  me  there  with  a  welcoming  hand. 
Took  me  in  with  a  Temperance  Band. 
Five  long  sober  years  have  passed  away, 
Years  since  I  have  bowed  my  knees  to  pray. 
Now  I'll  go  home  and  live  a  sober  life 
With  a  good  home  and  a  loving  wife. 


'Dark  and  Stormy  Night.'  Reported  in  1937  by  Professor  W.  Amos 
Abrams  of  Boone,  with  the  note:  "My  father  got  this  ballad  from  a 
friend  about  1897." 

1  'Twas  on  a  dark  and  stormy  night 
I  heard  and  saw  an  awful  sight. 

The  lightning  flashed,  loud  thunder  rolled. 
Across  the  dark  the  night  did  stroll. 

2  I  heard  a  voice  cry  soft  and  low, 
'Far  down  beneath  all  drunkards  go. 
Come  in,  young  man,  we'll  make  you  room, 
Because  your  road  has  led  to  ruin.' 

3  I  started  on,  got  there  at  last, 
And  thought  I'd  take  a  social  glass. 
I  poured  it  out  and  stirred  it  well — 
Until  I  thought  of  a  drunkard's  hell. 

4  I  dashed  it  out  and  left  the  place 
And  sought  to  find  redeeming  grace ; 
I  started  home  to  change  my  life. 

To  meet  my  long-neglected  wife. 

5  I  found  her  weeping  o'er  the  bed 
Because  our  sweet  little  babe  was  dead. 
I  told  her  not  to  mourn  or  weep ; 

Our  little  babe  was  just  asleep. 

6  I  took  hold  of  her  pale  white  hand. 
She  was  so  weak  she  could  not  stand. 


44  NORTH  CAROLINA  FOLKLORE 

I  bowed  her  down  and  prayed  a  prayer 
That  God  might  bless  and  save  us  there. 

7     I  felt  like  Paul,  who  once  did  pray  ; 
I  felt  my  sins  all  washed  away. 
And  now  I  live  a  happy  life 
With  a  good  home  and  a  loving  wife. 


'On  a  Dark  and  Stormy  Night.'  The  opening  stanza  only,  copied  from 
the  music  as  contributed  by  I.  G.  Greer  of  Boone,  Watauga  county. 

On  a  dark  and  stormy  night 

I  saw  and  heard  an  awful  sight. 

The  lightning  played,  loud  thunder  rolled 

Across  my  dark,  benighted  soul. 

D 

'Drunkard's  Hell.'  From  the  John  Burch  Blaylock  Collection.  Uses 
pretty  much  all  the  matter  of  A  and  B,  somewhat  dififerently  arranged 
in  some  of  the  items.  Stanzas  2  and  3  are  rather  more  dramatic  than 
in  those  texts  : 

2  I  thought  I  saw  a  gulf  Ijelow 
Where  all  poor  dying  drunkards  go. 
My  feelings  then  no  tongue  can  tell : 
This  is  my  place — the  drunkard's  hell. 

3  I  met  another  weeping  crowd 

With  bloodshot  eyes  and  voices  loud. 
I  heard  them  raise  their  voices,  yell : 
'This  is  your  place — the  drunkard's  hell.' 

21 
The  Drunkard's  Doom 

For  the  occurrence  of  this  song  elsewhere  see  BSM  468,  and  adtl 
to  the  references  there  given  Alissouri  (OFS  11  392-3),  Ohio  (BSO 
308),  Michigan  (BSSM  478,  listed  only),  and  Indiana  (SFLQ  iv 
183-4). 

'The  Drunkard's  Doom.'  Reported  by  I.  G.  Greer.  Boone.  Watauga 
county.  With  the  tune.  A  line  of  each  stanza  is  repeated  in  the  re- 
frain, as  indicated  in  stanza  i. 

I      I  saw  a  man  at  early  dawn 

Standing  by  the  grog-shop  door ; 

His  eyes  were  sunk,  his  lips  was  parched  ; 

And  I  viewed  him  o'er  and  o'er. 

And  that's  the  drunkard's  doom  ; 

His  eyes  was  sunk,  his  lips  was  parched. 

And  that's  the  drunkard's  doom. 


DRINK      AND     CAMELING     SONGS  45 

2  His  little  son  stood  by  his  side 
As  if  to  him  did  say  ■} 

'Dear  father,  mother  lies  sick  at  home, 
And  sister  cries  for  bread.' 

3  lie  rose,  he  staggered  to  the  bar 
As  oft  he  done  before. 

He  to  the  landlord  whispering  said, 
'( ).  give  me  one  glass  more.' 

4  The  host  complied  with  his  request. 
He  drank  the  poisonous  bowl. 

He  drank  while  wife  and  children  starved. 
And  ruined  his  poor  soul. 

5  In  about  one  year  1  passed  that  way. 
A  crowd  stood  at  the  door. 

I  asked  the  cause,  and  one  replied, 
'The  drunkard  is  no  more.' 

6  I  saw  the  hearse  move  slowly  on. 
No  wife,  no  child  was  there. 
They  to  another  world  had  gone 
And  left  this  world  of  care. 


22 

The  Drunkard's  Dream  (I) 

As  Cox  has  pointed  out  (FSS  398).  this  is  frequent  in  nineteenth- 
century  ballad  print  in  England,  and  it  is  also  widely  known  in 
this  country.  See  BSM  469-70,  and  add  to  die  references  there 
given  Virginia  (FSV  306-7),  North  Carolina  (SFLQ  v  144).  Mis- 
souri (OFS  II  393-6),  Ohio  (BSO  226-7),  and  Indiana  (SFLQ 
IV  188-91);  it  is  known  also  in  Michigan  (BSSM  478,  listed 
merely).  The  five  texts  in  our  collection  differ  somewhat,  chiefly 
by  omissions,  transpositions,  and  other  minor  variations  character- 
istic of  oral  transmission. 


'The  drunkard's  Dream.'  From  the  manuscript  songbook  of  Miss  Lura 
Wagoner  of  Vox,  secured  in  1922  but  probably  entered  in  the  book 
some  ten  years  earlier.     With  the  tune. 


I      'Oh.  Edward,  you  look  so  happy  now ; 
Your  clothes  are  neat  and  clean ; 
I  never  see  you  drunk  about. 
Pray,  tell  me  where  you've  been. 

^  Probably  for  "to  him  he  said." 


46  NORTH  CAROLINA  FOLKLORE 

2  'Your  wife  and  cliildren  are  all  well ; 
You  once  did  treat  them  strange. 
Oh,  you  are  kinder  to  them  now — 
How  came  this  happy  change?' 

3  'It  was  a  dream,  a  warning  voice, 
Which  heaven  sent  to  me 

To  snatch  me  from  the  drunkard's  curse, 
Grim  want  and  misery. 

4  'My  wages  were  all  spent  in  drink  ; 
Oh,  what  a  wretched  view ! 

I  almost  broke  my  Mary's  heart. 
And  starved  mv  children,  too. 

5  'What  was  my  home  or  wife  to  me? 
I  heeded  not  her  cry  ; 

Her  winsome  smile  had  welcomed  me 
When  tears  bedimmed  her  eye. 

6  'Aly  children,  too,  have  oft  awoke. 
"Oh,  father  dear,"  they've  said, 
"Poor  mother  has  been  weeping  so 
Because  we've  had  no  bread." 

7  'My  Mary's  form  did  waste  away; 
I  saw  her  sunken  eye. 

On  straw  my  babes  in  sickness  laid ; 
I  heard  their  wailing  cry. 

8  'I  laughed  and  sang  in  drunken  joy 
While  Mary's  tears  did  stream ; 
Then  like  a  beast  I  fell  asleep 
And  had  this  warning  dream. 

9  'I  thought  once  more  I'd  staggered  home; 
There  seemed  a  solemn  gloom. 

I  missed  my  wife — where  can  she  be? — 
And  strangers  in  the  room. 

10  'I  heard  them  say,  "Poor  thing!  she's  dead. 
She  lived  a  wretched  life. 

For  grief  and  sorrow  broke  her  lieart. 
Who  would  be  a  drunkard's  wife?" 

11  T  saw  my  children  weeping  round. 
I  scarcely  drew  my  breath. 

They  called  and  kissed  her  lifeless  form. 
Forever  still  in  death. 


DRINK     AND     t;  AMBLING     SONGS  47 

12  ■  "Oh  father!  come  and  wake  her  up! 
The  people  sa}-  she's  dead. 

Oh,  make  her  smile  and  speak  once  more ! 
We'll  never  cry  tor  hread." 

13  '  "  She  is  not  dead."  I  faintly  cried 
And  rushed  to  where  she  lay 

And  madly  kissed  her  once  warm  lips 
Forever  cold  as  clay. 

14  '  "O  Mary!  speak  one  word  to  me. 
No  more  I'll  cause  you  pain, 

No  more  I'll  break  your  loving  heart, 
Nor  ever  get  drunk  again. 

15  '"Dear  Mary,  speak!     'Tis  Edward's  voice." 
"I  know  it  is,"  she  cried. 

I  woke,  and,  true,  my  Mary  dear 
Was  kneeling  by  my  side. 

16  T  pressed  her  to  my  throbbing  heart, 
While  with  joy  our  tears  did  stream. 
And  ever  since  I've  heaven  blessed 
For  sending  such  a  dream.' 


'The  Drunkard's  Dream.'  From  the  manuscript  book  of  Mrs.  Mary 
Martin  Copley,  obtained  in  1923  by  Jesse  F.  Carpenter  of  Durham. 
This  text  lacks  the  awakening  from  the  dream,  ending  with  these  lines: 

My  poor  wife's  form  did  waste  away, 
I  saw  her  sunken  eyes. 
My  babes  on  stray  in  sickness  lay, 
I  heard  their  wailing  cries. 

'Oh,  papa,  come  and  wake  her  up ! 
The  people  say  she's  dead. 
Just  make  her  speak  and  smile  once  more 
And  we  will  never  cry  for  bread.' 

c 

'The  Drunkard's  Dream.'  Obtained  by  Professor  W.  Amos  Abrams, 
of  Boone,  from  Mary  Bost  of  States ville,  Iredell  county.  Lacks  stanzas 
4-8  of  A  and  has  a  few  other  minor  variants. 

D 
'The  Drunkard's  Dream.'     From  Mrs.  Minnie  Church  of  Heaton,  Avery 
county,  in  1939.     This  text  too  has  lost  the  awakening  from  the  dream, 
ending  with 

'Oh,  Mary,  speak  to  me,'  I  said. 

'I'll  never  cause  you  pain 


48  NORTH      CAROLINA     1-OLKLORE 

Or  will  I  break  your  loving  heart ; 
I'll  never  get  drunk  again.' 

E 
'The  Drunkard's  Dream."  From  the  manuscripts  of  G.  S.  Robinson  of 
Asheville,  obtained  in  August  1939.  Lacks  stanzas  5-8  and  12-13  of  -^ 
and  shows  minor  variations  due  to  setting  down  the  text  from  memory, 
but  retains  the  ending  of  A  with  an  added  final  Hne :  "Farewell  to  rum's 
career." 


23 
The  Drunkard's  Dream   (II) 

This  is  quite  distinct  from  the  temperance  song  of  the  same  title 
given  just  above.     That  is  very  widely  known  both  in  England  and 
in  America ;  this  song  I  have  found  nowhere  else. 
'The   Drunkard's   Dream.'      From   the   John   Burch    Blaylock   Collection. 

1  The  drunkard  dreamed  of  his  old  retreat, 
Of  his  cozy  place  in  the  taproom  seat; 
And  the  liquor  gleamed  on  his  gloating  eyes 
Till  his  lips  to  the  sparkling  glass  drew  nigh. 
He  lifted  it  up  with  an  eager  glance 

And  sang  as  he  saw  the  bubbles  dance, 

'Aha,  I  am  myself  again, 

Here's  a  truce  to  care  and  adieu  to  pain ! 

2  'Welcome  the  cup  with  its  creamy  foam. 
Farewell  to  work  and  a  mopy  home. 
With  a  jolly  crew  and  a  flowing  bowl 

In  barroom  pleasures  I  love  to  roll.' 
Like  a  crash  there  came  to  the  drunkard's  side 
His  angel  child  who  that  night  had  died. 
With  a  look  so  gentle  and  sweet  and  fond 
She  touched  his  glass  with  her  little  hand. 

3  And  oft  as  he  raised  it  up  to  drink 

She  silently  tapped  on  its  trembling  brink  ; 

Till  the  drunkard  shook  from  foot  to  crown 

And  set  the  untasted  goblet  dcnvn. 

'Hey,  man,'  cried  the  host,  'what  meanelh  this? 

Is  thee  canty  sick,  or  the  dram  amiss  ? 

Cheer  up,  my  lad,  quick  the  bumper  quaff.' 


24 

Father,  Dear  I-'atiier,  Come  with  Me  Now 

One  of  Henry  C.  Work's  songs;  by  no  means  so  good  as  'Wake, 
N'codemus,'  but  still   it  achieved  a  considerable  jxipularity.     It  has 


DRINK      AND     (.AMBLING     SONGS  49 

been  reported  as  a  folk  song  from  Virginia  (FSV  306),  Kentucky 
(Shearin  33,  BKH  144),  and  Arkansas  (OFS  11  397).  Of  our 
two  texts  one  follows  the  original  pretty  closely  except  in  the 
chorus,  which  is  quite  different  from  Work's;  the  other  is  a  reduced 
form  but  retains  the  original  chorus  (probably;  see  headnote  to  B). 


'Father,  Dear  Father,  Come  Home  with  Me  Now.'  From  Lois  Johnson, 
Davidson  county.     No  date  given. 

1  Father,  dear  father,  come  home  with  me  now ; 
The  clock  in  the  steeple  strikes  one. 

You  said  you  were  coming  right  home  from  the  shop 

As  soon  as  your  day's  work  was  done. 

The  house  is  all  dark,  the  fires  are  all  out. 

And  mother's  heen  watching  since  tea 

With  poor  little  Bennie  so  sick  in  her  arms 

And  no  one  to  help  her  htit  me. 

Chorus: 

Hear  the  sweet  voice  of  the  child, 

Which  the  night  winds  repeat  as  they  roam. 

Oh,  who  could  resist  this  most  plaintive  of  prayers, 

'Please,  father,  dear  father,  come  home.' 

2  Father,  dear  father,  come  home  with  me  now ; 
The  clock  in  the  steeple  strikes  two. 

Poor  Bennie  is  worse,  indeed  he  is  worse. 
And  he  has  been  calling  for  you. 
Indeed  he  is  worse,  ma  says  he  will  die. 
Perhaps  before  morning  shall  dawn. 
And  this  is  the  message  she  sent  me  to  tell : 
Come  quickly  or  he  will  be  gone. 

3  Father,  dear  father,  come  home  with  me  now ; 
The  clock  in  the  steeple  strikes  three. 

The  house  is  so  lonely,  the  hours  are  so  long 

For  poor  weeping  mother  and  me. 

Yes.  we're  all  alone ;  poor  Bennie  is  dead 

And  gone  with  the  angels  of  light ; 

And  these  were  the  very  last  words  that  he  said  : 

T  want  to  kiss  papa  goodnight.' 

B 

'Father,  Dear  Father,  Come  Home  with  Me  Now.'  From  Bessie  Lou 
Hull,  Shelby,  Cleveland  county.  No  date  given.  The  chorus  is  per- 
haps miscopied ;  in  the  original  song  it  runs 

Come  home  !  come  home  !  come  home  ! 
Please,   father,   dear   father,   come   home. 

N.C.F..  Vol.  TIT,   (6) 


50  NORTH     CAROLINA     I'  0  L  K  L  0  R  E 

1  Father,  clear  father,  come  home  with  me  now, 
The  clock  in  the  steeple  strikes  one ; 

You  said  you  were  coming  right  home  from  the  shop 
As  soon  as  your  day's  work  was  done. 

Chorus: 

Come  home,  come  home, 

Please,  father,  dear  father,  come  home. 

Come  home,  some  home. 

Please,  father,  dear  father,  come  home. 

2  Our  light  has  gone  out.  our  house  is  all  dark. 
And  mother  has  been  waiting  since  ten 
With  poor  little  Bennie  so  sick  in  her  arms 
And  no  one  to  help  her  but  me. 

3  Father,  dear  father,  come  home  with  me  now, 
The  clock  in  the  steeple  strikes  two ; 

Our  house  has  grown  cold,  and  Bennie  is  worse, 
But  he  has  been  calling  for  you. 

4  Yes,  Bennie  is  worse,  mother  says  he  will  die. 
Perhaps  before  morning  shall  dawn ; 

But  the  message  he  sent  me  to  bring : 
'Oh,  papa,  dear  papa,  come  home !' 

25 

The  Drunkard's  Lone  Child 

As  Stout's  Iowa  texts  show,  there  are  two  quite  distinct  songs 
bearing  this  title  (MAFLS  xxix  122-4).  Ours  is  the  former  of 
the  two.  It  has  been  reported  also  from  Virginia  (FSV  307), 
North  Carolina  (FSSH  382).  the  Ozarks  (OFS  11  398-402),  Michi- 
gan (BSSM  477.  listed  only),  and  Nebraska  (Pound  55),  and 
Spaeth  gives  it  in  U'ccp  Some  More.  My  Lady  191-2. 


'Bessie,  or  the  Drunkard's  Daughter."  From  the  manuscript  songbook 
of  Miss  Lura  Wagoner  of  Vox,  Alleghany  county,  in  whicli  it  was 
entered  probably  in  1912  or  thereabouts. 

I     Out  in  the  gloomy  night  sadly  I  roam, 
I  have  no  mother  dear,  no  pleasure  have.^ 
No  one  cares  for  me,  no  one  would  cry 
Even  if  poor  little  Bessie  should  die. 
Weary  and  tired  I've  been  wandering  all  day 
Asking  for  work  ;  but  I'm  too  small,  they  say. 
On  the  damp  ground  I  must  now  lay  my  head. 
Father  is  a  dnnikard  and  mother  is  dead. 

'  The   I!  text  shows  how  this  lino  should  rhyme. 


DRINK     AND     C.  A  M  B  L  I  N  G     SONGS  5 1 

We  were  so  happy  till  father  drank  rum ; 
Then  all  our  sorrow  and  trouble  begun. 
Mother  grew  pale  and  wept  every  day, 
Baby  and  1  were  too  hungry  to  play. 
Slowly  they  faded,  till  one  summer  night 
Found  their  dead  faces  all  silent  and  white. 
Then,  with  big  tears  slowly  dropping,  I  said, 
'Father's  a  drunkard  and  mother  is  dead.' 

Oh,  if  the  temperance  man  only  could  find 
Poor  wretched  father,  and  talk  very  kind. 
If  they  could  stop  him  from  drinking,  then 
I  would  be  so  very  happy  again. 
Is  it  too  late,  temperance  men?     Please  try. 
Or  poor  little  Bessie  must  soon  starve  and  die. 
All  day  long  I've  been  begging  for  bread. 
Father's  a  drunkard  and  mother  is  dead. 


'God  Pity  Bessie,  the  Drunkard's  Lone  Child.'  Contrihuted  in  1921  by 
Miss  Jewell  Robbins  of  Pekin,  Montgomery  county.  Eight  lines  only. 
With  the  air. 

1  Out  in  the  cold  I  wander  alone. 

With  no  one  to  love  me,  no  friends,  no  home. 
Dark  is  the  night  and  the  storm  rages  wild. 
God  pity  Bessie,  the  drunkard's  lone  child ! 

2  Mother,  oh,  why  did  you  leave  me  alone 

W' ith  no  one  to  love  me,  no  friends,  no  home  ? 
Dark  is  the  night  and  the  storm  rages  wild. 
God  pity  Bessie,  the  drunkard's  lone  child ! 


'Drunkard's  Love  Child.'  Obtained  from  Bell  Brandon  of  Durham. 
Not  dated.  The  text  is  the  same  as  B  except  that  it  has  "love"  for 
"lone." 

26 
Don't  Go  Out  Tonight,  My  Darling 

The  age-old  struggle  between  tlie  wife  and  the  tavern  has 
prompted  many  songs.  This  particular  one,  which  is  reported  also 
by  Randolph  from  the  Ozarks  (OFS  11  434),  shows  by  the  vari- 
ations in  the  three  texts  in  our  collection  that  it  has  passed  by 
word  of  mouth  from  singer  to  singer. 


'Don't   Go    Out    Tonight,    My    Darling.'     Contributed   by    Professor   W. 
Amos  Abrams,  of  Boone,  about  1936. 


52  NORTH  CAROLINA  FOLKLORE 

1  Don't  go  out  tonight,  my  darling, 
Do  not  leave  me  here  alone. 

Stay  at  home  with  me,  my  darling ; 
I'm  so  lonesome  when  you  are  gone. 

2  Although  that  life  may  be  tempting 
And  your  finals  full  of  glee,^ 

I  will  do  my  best  to  cheer  you. 
Darling,  won't  you  stay  with  me  ? 

3  (Jh,  now  he's  gone  and  left  me 
With  a  curse  upon  his  lips. 

There's  no  one  knows  what  I  have  suffered 
Over  that  awful  tucked  head.- 

4  I  hear  a  knock  upon  the  door 
And  footsteps  upon  the  floor. 

Now  they  ha\e  brought  back  ni}-  husband. 
There  he  is  upon  the  floor. 

5  Now  he's  dying  ;  yes,  he's  dying. 
Soon  I  shall  be  left  alone. 

I  ask  that  God  go  and  his  mercy^ 
And  save  him  from  a  drunkard's  doom. 


'Don't    Go    Out    Tonight,    My    Darling.'      From    Mrs.    Minnie    Church, 
Heaton,  Avery  county,  1930. 

1  Don't  go  out  tonight,  my  darling, 
Do  not  leave  me  here  alone ; 

Stay  at  home  with  me.  my  darling ; 
I'm  so  lonesome  when  you're  gone. 

2  Altho  the  life  has  many  atemptings 
And  your  friendship  will  1  grieve, "* 
I  will  do  my  best  to  cheer  you. 
Darling,  w'on't  you  stay  with  me? 

3  Oh,  no !  he's  gone  and  left  me 
With  a  curse  upon  his  lips. 

There's  no  one  knows  how   1  have  suffered 
For  those  awful  words  he  said. 

^  Randolph's  Arkansas  text  shows  how  this  line  shuuld  run :  "And 
your  friends  are  full  of  glee." 

"  B's  "For  those  awful  words  he  said"  shows  what  is  prohalily  the 
right  reading. 

■''  Here  again  B  iielps  out :  "I  pray  that  God's  own  tender  mercy 
May.  .  .  ." 

*  For  the  right  reading  of  the  first  two  lines  of  stanza  2,  see  C  and 
the  note  on  this  stanza  in  A. 


DRINK      AND     C  A  M  B  L  I  N  G     SONGS  53 

4  1  liear  a  knocking  at  the  door. 

I  hear  his  footsteps  on  the  floor. 

Now  they  brought  nie  hack  my  husband ; 

Here  he  is  upon  the  floor. 

5  Now  he's  dying ;  yes,  he's  dying. 
Soon  I  will  be  left  alone. 

I  pray  that  God's  own  tender  mercy 
May  save  him  from  a  drunkard's  doom. 

c 

'Don't  Go  Out  Tonight,  My  Darling."     From  the  MSS  of  G.  S.  Robin- 
son of  .Asheville,  copied  out  in  1939. 

1  Don't  go  out  tonight,  my  darling. 
Do  not  leave  me  here  alone. 

Stay  at  home  with  me,  my  darling ; 
I'm  so  lonely  when  you're  gone. 

2  Though  the  wine  cup  may  be  tempting 
And  our  friends  are  full  of  glee, 

I  will  do  my  best  to  cheer  you. 
Darling,  can't  you  stay  with  me? 

3  You  may  meet  with  friends  and  faces, 
They  may  tell  you  they  are  true, 
But  remember,  my  dear  darling. 

No  one  loves  you  as  I  do. 

4  ( )h,  my  God!     He's  gone  and  left  me 
With  a  curse  upon  his  lips. 

You  don't  know  how  much  I've  suft'ered 
From  the  careless  cup  he  drank. 

5  Hark !     I  hear  the  heavy  footsteps. 
Hear  the  knock  upon  the  door. 

Here  they've  brought  him  home,  my  husband  ; 
Here  he  lies  upon  the  floor. 

6  Oh,  my  God !     I  cannot  wake  him ; 
For  he  craved  his  rum,  his  rum. 
All  the  flowers  I  have  cherished. 
They  have  faded,  one  by  one. 

27 

Be  Home  Early 

This    song   was   printed   in    Wehman    Brotliers'  Good    Old    Time 

Songs  No.  3    (New  York,   1914),  pp.    18-19,  and  in  broadsides  of 

earlier   date,   e.g.,    Wehman    No.    551.      Randolph  reports    it    from 
Arkansas  (OFS  iv  379-80). 


54  NORTH  CAROLINA  FOLKLORE 

'Be  Home   Early.'     Secured  by  Julian   P.   Boyd  from  one  of  his  pupils 
in  the  school  at  Alliance,  Pamlico  county,  about  1927-28. 

1  I  have  traveled  through  life,  1  have  seen  many  a  thing 
That  surprised  me  in  every  form. 

I  have  been  at  the  spade.  I  have  lieen  at  the  plow 
From  dark  till  sunrise  in  the  morn. 

Chorus: 

Be  home  early  tonight,  my  dear  boy,  my  dear  boy, 
Be  home  early  tonight,  my  dear  boy. 
Don't  spend  all  your  money  to  gamble  and  drink. 
Be  home  early  tonight,  my  dear  boy. 

2  At  night  I  would  go  for  some  pleasure  through  town. 
For  Fm  always  for  pleasure  and  joy. 

My  mother  would  say,  when  going  away, 
'Be  home  early  tonight,  my  dear  boy.' 

3  One  night  I  returned  from  my  night's  fun  and  joy. 
I  heard  my  poor  mother  was  dead. 

It  was  then  the  cold  chills  through  my  body  did  run 
When  I  thought  of  the  last  word  she  said. 

4  Come  all  you  young  men  and  take  warning  by  me, 
To  your  fathers  and  mothers  attend. 

For  a  good  mother's  love  it  must  not  be  forgot. 
When  she's  gone  you  have  lost  your  best  friend. 

28 
I  Wish  I  Was  a  Single  Girl  Again 

For  the  occurrence  of  tliis  song  elsewhere  and  its  possible  rela- 
tion to  'When  I  Was  Single'  (given  in  this  volume  under  Court- 
ing Songs),  see  BSM  437  and  add  to  the  references  there  given 
Virginia  (FSV  167)  and  Missouri  (OFS  in  69-70).  'When  I 
Was  Single,'  however,  has  nothing  to  do  with  drink  or  gambling, 
and  is  besides  (|uite  different  metrically  from  diis  lament  of  a 
drunkard's  wife.  Mrs.  Steely  found  it  in  the  Ebenezer  community 
in  Wake  county. 


'I  Wish  I  Were  Single  Again.'  Obtained  from  Mamie  Mansfield,  of 
the  Fowler  School  District,  Durham  county,  in  1922.  The  first  two 
times  that  the  word  "girl"  occurs  in  the  manuscript  it  is  followed  by 
"gal"  in  parentheses,  indicating  no  doubt  that  that  is  the  way  the  word 
is  to  be  pronounced. 

I      I  left  my  poor  old  father,  and  broke  his  command, 
I  left  my  poor  old  mother  a-wringing  her  hands. 
Oh,  Ford,  I  wish  1  was  a  single  girl  again. 


DRINK     AND     GAMBLING     SONGS  55 

Clionis: 

The  drunkard,  the  drunkard  is  a  man  of  his  own, 
Ahvays  a-drinking  and  away  from  his  home. 
Oh.  Lord,  I  wish  1  was  a  single  girl  again. 

2  When  I  was  single  I  wore  very  fine  shoes  ; 
Now  I  am  married  my  toes  are  sticking  through. 
Oh,  Lord,  1  wish  I  was  a  single  girl  again. 

3  When  1  was  single  1  wore  a  very  fine  dress; 
Now  1  am  married  rags  are  my  best. 

Oh,  Lord.  1  wish  I  was  a  single  girl  again. 

4  When  I  was  single  I  had  plenty  to  eat ; 
Now  1  am  married  it  is  corn  bread  and  meat. 
Oh,  Lord,  I  wish  1  was  a  single  girl  again. 

5  Now  it  is  the  floors  to  be  swept,  the  spring  to  go  to, 
Little  ones  a-crying.     Oh,  Lord,  what  shall  I  do? 
Oh,  Lord.  I  wish  1  was  a  single  girl  again. 

6  Washing  their  little  feet,  putting  them  to  bed. 
In  comes  the  drunkard,  wishing  that  I  was  dead. 
Oh,  Lord,  I  wish  I  was  a  single  girl  again. 

B 

A  Drunkard.'     From  the  John   Burch  Blaylock  Collection. 

1  .\  drunkard,  a  drunkard,  a  man  of  his  own, 
Always  drinking  away  from  his  home. 
Lord,  I  wish  1  was  a  single  girl  again ! 

2  When  I  was  single,  I  had  plenty  to  eat ; 

Now  I  am  married,  and  it's  cornbread  and  meat. 
Lord,  I  wish  I  was  a  single  girl  again ! 

3  When  I  was  single  I  had  fine  clothes  to  wear ; 
Now  I  am  married  and  the  rags  are  my  best. 
Lord,  I  wish  I  was  a  single  girl  again ! 

4  When  I  was  single  I  had  fine  shoes  to  wear ; 
Now  I  am  married  and  my  toes  are  poking  through. 
Lord,  1  wish  I  was  a  single  girl  again  ! 

5  The  spring  is  to  go  to.  and  my  floors  are  to  sweep. 
The  little  ones  are  crying,  they're  crying  for  meat. 
The  other  is  crying.  'Papa.  I  want  to  go  to  bed.' 

Lord,  what  shall  1  do?     I  wish  I  was  a  single  girl  again. 

6  The  bread  is  to  bake  and  little  ones'  shoes  to  put  on. 
In  steps  a  drunkard,  and  I  wish  I  was  dead. 
Lord,  I  wish  I  was  a  single  girl  again ! 


56  NORTH  CAROLINA  FOLKLORE 

7     \\  hen  1  was  single  I  lived  at  my  ease ; 

Now  I  am  married  and  a  drunkard  to  please. 
Lord,  I  wish  I  was  a  single  girl  again ! 


'The  Drunkard's  Wife."  Contributed  by  I.  T.  Poole  of  Durham  in 
June  1920.  With  the  air.  Brief  as  it  is,  the  contributor  has  marked 
it  "complete." 

1  Two  little  children,  all  so  very  small ; 
Neither  one  is  large  enough  to  help  me  at  all. 

Chorus: 

Oh,  1  wish  1  was  a  single  girl  again. 
Oh,  I  wish  I  was  a  single  girl  again. 

2  One  a-cryin"  'Mama,  I  want  to  go  to  bed,' 
One  a-cryin'  'Mama,  I  want  a  piece  of  bread.' 


29 
Seven  Long  Years  I've  Been  Married 

The  woes  of  married  life,  for  man  and  for  woman,  are  the  sub- 
ject of  numerous  songs,  some  of  which  appear  in  this  collection; 
but  this  particular  development  of  the  theme  seems  to  have  no  wide 
currencv.  I  have  found  it  reported  elsewhere  onlv  from  Virginia 
(FSV  170),  Arkansas  (OFS  11  417).  and  Michigan  (BS.SM  132). 
Mrs.  Steely  found  it  in  the  Ebenezer  community  in  Wake  county. 
Something  like  it  but  not  the  same  song  is  reported  from  Ohio 
(BSO  185).  Compare  'I  Wish  I  Was  a  Single  Girl  Again'  and 
'The  Inconstant  Lover'  E. 


'Wish   I'd  Lived  an   Old   Maid.'     Contributed  by   Rosa   Efird  of   Stanly 
county.     But  the  manuscript  is  not  dated. 

1  For  seven  long  years  I've  been  married. 
I  wish  I'd  lived  an  old  maid. 

My  husband  he  is  oft"  gambling : 
I'd  better  been  laid  in  my  grave. 

CJwnts: 

Off  to  the  barroom  he  staggers. 

Go  bring  him  back  if  you  can. 

Young  girls,  you  have  never  known  trouble 

Lentil  vou  marry  a  man. 

2  He  promised,  when  we  were  first  married, 
We'd  live  so  happy  and  gay ; 

Every  day  in  the  week  long 
Go  in  the  parlor  and  play. 


DRINK     AND     GAMBLING     SONGS  57 

Get  up  soon  in  the  morning, 
\\'ork  and  toil  all  day ; 
Supper  to  cook  in  the  evening, 
The  children  to  put  to  hed. 

Off  soon  in  the  morning, 
Gamble  and  drink  all  day ; 
At  night  when  he  comes  home 
He's  gambled  his  money  away. 

Young  girls,  you  had  better  take  warning 
In  choosing  you  a  man. 
For  if  you  have  never  known  trouble 
You'll  find  it  with  a  gambling  man. 


'Seven  Long  Years  I've  Been  Married.'  Contributed  l)y  Mamie  Mans- 
field of  the  Fowler  School  District,  Durham  county,  in  July  1922.  A 
fragmentary  text. 

1  Seven  long  years  I've  been  married. 
I  wish  I'd  lived  an  old  maid. 

For  now  it's  get  up  early  in  the  morning 
And  toil  and  toil  all  day. 

2  Supper  to  get  for  the  children, 
And  the  table  to  all  clear  away. 
And  off  to  the  alehouse  I  go 
To  fetch  him  away  if  I  can. 
Now,  girls,  you'll  never  see  trouble 
Until  you  are  tied  to  a  man. 

30 

The  Lips  That  Touch  Liquor  Must  Never  Touch  Mine 

This  song,  particularly  its  refrain  line,  attained  wide  popularity 
in  the  days  of  the  temperance  movement,  but  I  do  not  find  it  recog- 
nized as  folk  song  except  by  Randolph  (OFS  11  341-2,  from  Arkan- 
sas). In  its  original  form — our  A  text — it  is  the  work  of  George 
W.  Young,  and  has  been  printed  in  Standard  Recitations  (New 
York,  1884),  in  One  Hundred  Choice  Selections  Number  i6  (Phila- 
delphia, copyright  dates  1878  and  1906).  and  no  doubt  in  many 
other  publications.  But  about  Young  I  can  learn  nothing.  That 
indefatigable  student  of  Americana  H.  L.  Mencken  {Yoii  Know 
These  Lines!  New  York,  1935,  p.  92)  says  the  earliest  print  of  it 
he  knows  is  a  temperance  broadside,  undated  but  of  about  1870, 
but  of  the  author  be  knows  nothing  beyond  the  name.  He  tells  of 
another  piece,  no  doubt  suggested  by  Young's,  that  appeared  in 
Readings  and  Recitations  (New  Y'ork,  1878),  which  may  very  likely 
be  our  B  text. 


58  NORTH     CAROLINA     I"  0  L  K  L  0  R  E 


'The  Lips  That  Touch  Liquor  Shall  Never  Touch  Mine.'  Obtained  by 
Jesse  T.  Carpenter  from  the  manuscript  songbook  of  Mrs.  C.  T.  Weath- 
erly  of  Greensboro,   Guilford  county. 

1  You  are  coming  to  woo  me,  but  not  as  of  yore, 
When  I  hastened  to  welcome  your  ring  at  the  door. 
For  I  trusted  that  he  who  stood  waiting  for  me  then 
Was  the  brightest,  the  truest,  the  noblest  of  men. 
Your  lips  on  my  own,  when  they  printed  'farewell,' 
Had  never  been  soiled  by  the  beverage  of  Hell ! 

But  they  come  to  me  now  with  the  bacchanal  sign  ; 
And  the  lips  that  touch  liquor  must  never  touch  mine. 

2  I  think  of  that  night  in  the  garden  alone 

When  in  whispers  you  told  me  your  heart  was  my  own, 

That  your  love  in  the  future  should  faithfully  be 

Unshared  by  another,  kept  only  for  me. 

Oh,  sweet  to  my  soul  is  the  memory  still 

Of  the  lips  that  met  mine  when  they  murmured  'I  will.' 

But  now  to  their  pressure  no  more  they  incline ; 

For  the  lips  that  touch  liquor  shall  never  tovich  mine. 

3  Oh,  John !     How  it  crushed  me  when  first  in  your  face 
The  pen  of  the  rum  fiend  had  written  'disgrace,' 

And  turned  me  in  silence  and  tears  from  that  breath, 

All  poisoned  and  foul  from  the  chalice  of  death ! 

It  scattered  the  hopes  I  had  treasured  to  last, 

It  darkened  the  future  and  clouded  the  past. 

It  shattered  my  idol  and  ruined  the  shrine  ; 

For  the  lips  that  touch  liquor  shall  never  touch  mine. 

4  I  loved  you,  oh,  dearer  than  language  can  tell. 

And  you  saw  it,  you  proved  it,  you  knew  it  too  well ; 
But  the  man  of  my  love  was  far  other  than  he 
\\nio  now  from  the  taproom  comes  running  to  me. 
In  manhood  and  honor  so  noble  and  bright. 
His  heart  was  so  true  and  his  genius  so  bright. 
And  his  soul  was  unstained,  unpolluted  by  wine. 
But  the  lips  that  totich  li(|uor  shall  Jici'cr  touch  mine. 

5  You  i^romised  reform ;  but  I  trusted  in  vain. 
Your  pledge  was  but  made  to  be  broken  again. 
And  the  lover  so  false  to  his  promises  now 
Will  not  as  a  husband  be  true  to  his  vow. 
The  word  must  be  spoken  that  bids  you  depart. 
Though  the  efiforts  to  speak  it  should  shatter  my  heart. 
Though  in  silence  with  l)lightc(l  afifections   I  pine. 

Yet  the  lips  that  touch  li(|uor  shall  never  totich  mine. 


DRINK      A  X  1)     C,  AMBLING     SON  C.  S  59 

If  one  spark  in  your  Ijosoui  of  virtue  remains. 
Go  fan  it  with  prayer  till  it  kindles  again. 
Resolve,  with  God  helping,  in  future  to  be 
From  wine  and  its  follies  unshackled  and  free ! 
And  when  you  have  conquered  this  foe  of  your  soul, 
In  manhood  and  honor  beyond  its  control. 
This  heart  will  again  beat  responsive  to  thine, 
And  the  lips  free  from  liquor  be  welcome  to  mine. 


'The  Lips  That  Toucli  Liquor.'     Obtained  by  Jesse   T.   Carpenter  from 
the  manuscript  songbook  of  Mrs.  Mary  Martin  Copley,  Route  8,  Durham. 

1  The  demon  of  rum  is  abroad  in  the  land. 
His  victims  are  falling  on  every  hand, 

The  wise  and  the  sinful,  the  brave  and  the  fair. 
No  station  too  high  for  his  vengeance  to  spare. 
O  woman,  the  sorrow  and  pain  is  with  you. 
And  so  be  the  joy  and  the  victory  too ; 
With  this  for  your  motto  and  succor  divine : 
The  lips  that  touch  liquor  shall  never  touch  mine. 
The  lips  that  touch  liquor  shall  never  touch  mine. 

Chorus: 

With  this  for  your  motto  and  succor  divine. 

The  lips  that  touch  liquor  shall  never  touch  mine. 

Shall  never  touch  mine. 

2  The  homes  that  were  happy  are  ruined  and  gone. 
The  hearts  that  were  merry  are  wretched  and  lone,^ 
And  lives  full  of  promises  of  good  things  to  come. 
Wives,  maidens,  and  mothers,  to  you  it  is  given 
To  rescue  the  fallen  and  point  them  to  heaven. 
W'ith  God  for  your  guide  you  shall  win  by  this  sign  : 
The  lips  that  touch  liquor  shall  never  touch  mine. 
The  lips  that  touch  liciuor  shall  never  touch  mine. 

3  O  mother,  whose  sons  tarry  long  at  the  bowl, 

Who  loves  their  good  name  as  you  love  your  own  soul ; 
O  maidens,  with  fathers  and  brother  and  beaux. 
Whose  lives  you  would  rescue  from  infinite  woes ; 
Let  war  be  your  watchword  from  shore  unto  shore 
Till  rum  and  his  legions  shall  ruin  no  more. 
And  write  on  your  banners  in  letters  that  shine  : 
The  lips  that  touch  litjuor  shall  never  touch  mine. 
The  lips  that  touch  liquor  shall  never  touch  mine. 
^  The  manuscript  has  here  "Hne." 


6o  NORTH     CAROLINA     1"  0  L  K  L  0  R  E 

31 
I'm  Alone,  All  Alone 

This  lament  of  an  old  man  who  has  lost  all  his  one-time  happiness 
and  is  now  a  lonely  wanderer  is  no  doubt  conceived  as  an  instru- 
ment in  the  fight  against  drink.  Randolph  has  found  it  in  Mis- 
souri (OFS  II  424-5),  and  it  appears  three  times  in  our  collection. 
A  song  reported  by  Henry  ( FSSH  2^2~ )  from  Kentucky  has  a  like 
refrain  but  is  not  the  same  song. 


'Far  Back  in  My  Childhood.'  The  manuscript  says  "Recorded  by  ^Ir. 
Coffey  in  .  .  .  for  the  .  .  .  Co.,"  which  seems  to  mean  that  he  sang  it  at 
some  time  before  a  recording  instrument  for  some  phonograph  company. 
From  O.  L.  Coffey  of  Shull's  Mills,  Watauga  county. 

1  Far  back  in  my  childhood,  I  remember  today. 

I  was  happy  and  beloved  ere  I  wandered  away ; 

I  was  taught  by  my  mother,  who  sleeps  neath  the  stone. 

And  caressed  by  my  father ;  yet  I've  wandered  here  alone. 

Chorus: 

I'm  alone,  all  alone,  and  I  feel  I'm  growing  old. 
Yet  I  wandered,  oh.  how  lonely  !     I  am  shivering  in  the 
cold. 

2  I  remember  the  maiden,  and  my  heart  bleeds  to  tell 
How   I   loved  her,  her  devotion !      But  on  this   I   cannot 

dwell. 
We  were  wed;  our  path  was  pleasant  and  the  sun  of  for- 

time  shone ; 
But  alas,   I  took  to  drinking:  and   Fm  a  wanderer  here 

alone. 

3  I  remember  my  children,  how  they  climbed  upon  my  knees 
And  I  kissed  my  little  darling  in  the  day  when  I  was  free. 
But  I've  squandered  all  my  fortune  and  I'm  now  with- 
out a  home. 

And  I  know  it  was  all   from   drinking.     And   F\e  wan- 
dered here  alone. 


'I'm  Alone.'  From  Miss  Pearl  Webb  of  Pineola,  Avery  county,  appar- 
ently in  1921.  With  the  music.  The  first  three  stanzas  and  chorus  as 
in  A,  but  it  adds  a  fourth  stanza : 

4     Can  I  break  the  bondage?    Can  I  break  this  awful  chain? 
Can  I  escape  the  shackle  ?    Can  I  be  free  again  ? 
Friends  of  temperance,  help  me!     Friends,  my  bondage  is 

untold, 
And  I  kntnv  it's  all  from  drinking  that  I  wandered  alone. 


DRINK     AND     GAMBLING     SONGS  6l 

c 

Louise  Rand  Bascom  in  1909  printed  (JAFL  xxii  24)  a  fragmentary 
version — the  chorus,  the  last  half  of  stanza  i  and  the  first  half  of  stanza 
3  of  A— with  the  notation  that  it  "has  prohahly  been  transplanted  from 
the  lowlands." 

32 
Old  Rusin  the  Beau 

For  the  history  and  occurrence  elsewhere  of  this  song,  see  BSM 
2SS  and  add  to  the  references  there  given  Virginia  (FSV  132-3), 
North  Carolina  (FSRA  97),  and  Missouri   (OFS  iv  371-3)- 

'Old  Rosin  the  Beau.'  Reported  by  K.  P.  Lewis  as  set  down  in  1910 
from  the  singing  of  Dr.  Kemp  P.  Battle  of  Chapel  Hill. 

1  I  live  for  the  good  of  my  nation. 
And  my  sons  are  all  growing  low. 
But  I  hope  that  my  next  generation 
Will  resemble  old  Rosin  the  Beau. 
I've  traveled  this  country  all  over 
And  now  to  the  next  I  will  go, 

For  I  know  that  good  quarters  are  waiting 
To  welcome  old  Rosin  the  Beau. 

Chorus: 

And  drink  to  old  Rosin  the  Beau, 
And  drink  to  old  Rosin  the  Beau, 
And  rake^  down  that  big-bellied  bottle 
And  drink  to  old  Rosin  the  Beau. 

2  In  the  gay  round  of  pleasure  I've  traveled. 
Nor  will  I  behind  leave  a  foe ; 

And  when  my  companions  are  jovial 
They  will  drink  to  old  Rosin  the  Beau. 
But  my  life  is  now  drawn  to  a  closing 
And  all  will  at  last  be  so. 
So  we'll  take  a  full  bumper  at  parting 
To  the  name  of  old  Rosin  the  Beau. 

3  When  I'm  dead  and  laid  out  on  the  counter, 
The  people  all  making  a  show. 

Just  sprinkle  plain  whiskey  and  water 
On  the  corpse  of  old  Rosin  the  Beau. 
I'll  have  to  be  buried,  I  reckon. 
And  the  ladies  will  all  want  to  know, 
And  they'll  lift  up  the  lid  of  the  coffin 
Saying,  'Here  lies  old  Rosin  the  Beau.' 
^  So  in  the  typescript.     Miswritten  for  "take"? 


62  NORTH  CAROLINA  FOLKLORE 

4  Oh,  when  to  my  grave  I  am  going 
The  children  will  all  want  to  go, 

They'll  run  to  the  doors  and  the  windows 
Saying,  'There  goes  old  Rosin  the  Beau.' 
Then  pick  me  out  six  trusty  fellows 
And  let  them  all  stand  in  a  row 
And  dig  a  big  hole  in  a  circle 
And  in  it  toss  Rosin  the  Beau. 

5  Then  shape  me  out  two  little  donochs/ 
Place  one  at  my  head  and  my  toe, 
And  do  not  forget  to  scratch  on  it 
The  name  of  old  Rosin  the  Beau. 
Then  let  those  six  trusty  good  fellows. 
Oh,  let  them  all  stand  in  a  row 

And  rake-  down  that  big-bellied  bottle 
And  drink  to  old  Rosin  the  Beau. 


33 
Little  Brown  Jug 

Very  generally  known  and  sung.  See  BSM  261,  and  for  its  use 
as  a  play-party  song  consult  Botkin's  The  American  Play-Party 
Song  by  index  under  "Brown  Jug."  It  is  reported  also  from  Vir- 
ginia (FSV  147)  and  from  Missouri  (OFS  iii  141-2,  331,  the 
latter  as  a  play-party  song).  It  appears  twenty-two  times  in  our 
collection,  mostly  in  a  stanza  or  two.  All  together  these  texts  show 
eight  distinguishable  stanzas,  four  of  them  frequently  and  one  of  the 
four  much  more  frequently  than  any  of  the  others,  four  rarely. 
The  four  stanzas  of  frequent  occurrence  appear  in  the  following 
text. 


'Little   Brown   Jug.'     Contributed   in    1914  by    Miss   Amy    Henderson   of 
Worry,  Alleghany  county. 

1  My  wife  and  I  lived  all  alone 

In  a  little  log  hut  we  called  our  own. 
She  loved  gin  and  I  loved  rum. 
Tell  you  what,  we'd  lots  of  fun ! 

2  ^Vhen  I  go  toiling  to  my  farm 
Little  brown  jug  is  under  my  arm. 
I  place  it  under  a  shady  tree. 
Little  brcnvn  jug,  'tis  you  and  me! 

^  The  manuscript  adds  liere  in  parenthesis  "drinking  mugs."  Lomax 
also  so  explains  the  word.  But  the  New  International  Dictionary  says 
that  "dornick"  (variant  spellings  donnick,  donnock)  means  a  stone,  a 
small  boulder. 

-  So  in  the  typescript.     Miswritten  for  "take"  ? 


DRINK     A  N  I)     C  A  M  H  L  I  N  G     SONGS  63 

3  My  wife  and  1  and  a  stump-tailed  dog 
Crossed  the  creek  on  a  hickory  \og. 
The  log  did  hreak  and  we  all  fell  in. 
You  het  I  hung  to  my  jug  of  gin ! 

Ha  ha  ha.  you  and  me, 

Little  brown  jug.  don't  I  love  thee! 

Ha  ha  ha.  you  and  me. 

Little  brown  jug.  don't  I  love  thee  !^ 

4  If  I  had  a  cow  that  gave  such  milk 
Ld  dress  her  in  the  finest  silk. 

Ld  feed  her  on  the  finest  hay 
And  milk  her  forty  times  a  day ! 

The  third  of  these  stanzas  appears  in  eigliteen  of  our  twenty-two 
texts,  sometimes  with  slight  variations  and  frequently  with  nothing 
else  except  the  refrain.  Stanzas  that  appear  less  frequently  are 
found  in  the  following  texts. 


'Little  Brown  Jug.'  Collected  by  Thomas  Smith  of  Zionville,  Watauga 
county,  about  191 5.  He  notes  that  it  "has  been  sung  in  this  section  for 
over  forty  years,  according  to  reliable  people.  Very  few  sing  it  today, 
though  several  persons  know  the  tune.  Robert  Smith  recalled  the  above 
verses  lately."     The  fourth  stanza  of  this  text,  incomplete,  runs  : 


Whiskey  and  brandy  all  played  out 
Little  brown  jug  was  up  the  spout. 


'Little  Brown  Jug.'  Reported  by  Clara  Hearne  of  Pittsboro,  Chatham 
county.     The  third  of  her  four  stanzas   runs  : 

As  I  went  down  the  railroad  track 
I  took  my  brown  jug  on  my  back. 
I  stubbed  my  toe  and  I  went  down. 
And  broke  my  brown  jug  on  the  ground. 

D 

'Little  Brown  Jug.'  Reported  by  Gertrude  Allen  (Mrs.  Vaught)  from 
Taylorsville,  Alexander  county.  Here  the  third  stanza  (incomplete) 
runs  : 


Went  to  milk  and  didn't  know  how, 
Milked  a  goat  instead  of  a  cow. 


'Song.'     Reported  by  Sarah  K.  Watkins  as  known  in  Anson  and  Stanly 
counties.     Here  the  second  stanza  runs  : 

'  This  refrain  stanza  is  so  placed  in  the  manuscript,  probably  by  error. 
It  should  come  after  each  successive  stanza. 


64  NORTH     CAROLINA     FOLKLORE 

Every  night  when  I  go  to  bed 
Little  brown  jug  does^  under  my  head  ; 
Every  morning  when  I  wake  up 
Little  brown  jug  turns  bottom-side  up. 


'Little   Brown  Jug.'      As   reported  by   Miss   Doris   Overton   of   Durham, 
this  stanza  takes  a  slightly  different  form : 

Every  night  when  I  go  to  bed 

Put  the  little  brown  jug  under  my  head  ; 

Every  morning  when  I  get  up 

Little  brown  jug  is  all  dried  up. 


In     Lois     Johnson's     version,     from     Davidson     county,     it     ends     more 
piquantly  : 

Next  morning  I  gave  a  pull : 

Jug  was  empty,  and  my  wife  was  full ! 

34 
Pass  Around  the  Bottle 

The  Archive  of  American  Folk  Song  has  a  record  under  this 
title  from  Kentucky.  As  we  have  it  in  North  Carolina  it  is  a 
drinking  song  only  in  the  first  two  stanzas ;  stanza  3  is  universally 
known  since  Civil  War  times,  and  stanzas  4-6  are  scarcely  less 
familiar.     The  refrain  line  shows  that  it  is  really  a  marching  song. 

'Pass   Around   the   Bottle.'      From   the  John   Burch   Blaylock   Collection. 
Each  stanza  repeats,  including  the  refrain  line,  as  indicated  in  stanza  i. 

1  Pass  around  the  bottle  and  we'll  all  take  a  drink. 
Pass  around  the  bottle  and  we'll  all  take  a  drink. 
As  we  go  marching  home. 

2  Pull  out  the  stopper  and  fill  it  up  again. 

3  Hang  John  Brown  on  a  sour  apple  tree. 

4  Grasshopper  sitting  on  a  sweet  potato  vine. 

5  Old  turkey  gobbler  come  slipping  up  behind. 

6  Old  turkey  gobbler  ]:)icked  the  hopper  from  the  vine. 

35 
JuDiE  Mv  Whiskey  Tickler 

A  college  drinking  song  of  a  hundred  years  ago  which  seems  to 
have  dropped  out  of  the  memory  of  present-day  collegians. 

^  Miswritten,  one  supposes,  for  "goes." 


U  R  I  N  K      AND     GAMBLING     SONGS  65 

'Judie  .My  Whiskey  Tickler.'  Communicated  by  S.  M.  Davis  of  White 
Hall  uii  the  Neuse  River,  Wayne  county,  as  "a  song  my  grandfather 
used  to  sing  while  at  Jefferson's  Academy  in  1839."  He  adds  that 
there  are  two  otiier  stanzas  which  he  does  not  know. 

1  Judie,  my  whiskey  tickler. 

Judie,  vou  debl)il,  vou  l)()ther  me  so. 
Woe!  "Woe!     Woe! 
Like  a  red-hot  potato  vou  are  all  a-^low. 
Woe!     Woe!     Woe! 

2  By^  faith,  you  are  both  elegant  in  form  and  face, 
You  walk  with  such  stately  magnificent  grace ! 
Judie,  you  debbil,  you  bother  me  so. 

Woe!     Woe!     Woe! 


36 
I'll  Never  Get  Drunk  Any  More 

The  four  texts  here  given  have  little  in  common  beyond  the  re- 
frain stanza.  Shearin's  syllabus  shows  that  this  is  known  in  Ken- 
tucky, and  Perrovv  (JAFL  xxviii  151)  reports  it  as  sung  by  both 
whites  and  blacks  in  Tennessee.  It  is  reported  also  from  Virginia 
(FSV  308)  and  from  Missouri  (OFS  11  413-14,  iii  140-1).  Mrs. 
Sutton  notes  that  Miss  Emeth  Tuttle  of  Lenoir  found  it  in 
ALssissippi. 


T'll  Never  Get  Drunk  Any  More.'  Reported  by  Thomas  Smith  of  Zion- 
ville,  Watauga  county,  sometime  between  1914  and  1920,  with  the  nota- 
tion :  "This  song  was  once  popular  around  here  (25  or  30  years  ago). 
Young  people  sang  it  a  great  deal  in  those  days.  The  tune  is  still  well 
known  to  several  of  my  neighbors." 

1  When  I  go  out  on  Sunday 
What  pleasure  do  I  see? 
For  the  girl  I  loved  so  dearly 
Has  gone  square  back  on  me. 

Clionts: 

Lll  never  get  drunk  any  more,  any  more, 
I'll  never  get  drunk  any  more. 
Lll  lay  my  head  in  my  true  love's  door, 
Lll  never  get  drunk  any  more. 

2  When  I  go  out  on  Sunday. 
My  head  all  racked  with  pain, 
Lll  tell  my  little  honey 

Lll  never  get  drunk  again. 

'  So  the  manuscript.     One  supposes  that  it  should  be  "My." 
N.C.F.,  Vol.  Ill,   (7) 


66  NORTH  CAROLINA  FOLKLORE 


Once  I  had  a  fortune ; 
I  laid  it  in  a  trunk. 
I  spent  it  all  a-gambling 
The  night  I  first  got  drunk. 


No   title.      Reported   by    Miss    Gertrude   Allen    (afterwards    Mrs.    R.    C. 
\'aught)    from  Taylor sville,  Alexander  county. 

1  Some  say  that  love  is  pleasure. 
What  pleasure  do  I  see? 

The  girl  I  loved  so  dearly 
Has  turned  her  back  on  me. 

CJiorus: 

I'll  never  get  drunk  any  more, 

I'll  never  get  drunk  any  more, 

I'll  lay  my  head  in  the  barroom  door, 

I'll  never  get  drunk  any  more. 

2  As  I  go  home  tonight 

I'll  smoke  my  long-stemmed  pipe, 
I'll  have  no  wife  to  bother  my  life, 
No  children  to  holler  and  squall. 

3  Dem  chickens  they  crowed  for  midnight, 
Dem  chickens  they  crowed  for  day, 
Dem  chickens  they  crowed  for  midnight, 
And  I  got  drunk  again. 


Til  Never  Get  Drunk  Any  More.'  Reported  by  Mrs.  Sutton  (while 
she  was  still  Miss  Maude  Minnish)  from  the  singing  of  Mrs.  Woody  of 
Jonas  Ridge.     Date  not  given. 

1  One  time  I  had  an  old  blue  hen. 
I  set  her  in  a  stump. 

A  'possum  come  and  got  her 
One  night  when  I  got  drunk. 

Chorus: 

I'll  never  git  drunk  any  more,  any  more, 
Oh,  I'll  never  git  drunk  any  more. 
I'll  lay  my  head  in  some  still-house  door, 
But  I'll  never  git  drunk  any  more. 

2  One  time  I  had  a  fortune ; 
I  put  in  a  trunk. 

I  lost  it  all  a-gamblin' 

One  night  when  I  got  drunk. 


DRINK     AND     GAMBLING     SONGS  67 


'I'll    Never    Get    Drunk    Any    More.'      From    the   John    Burch    Blaylock 
Collection. 

1  I'll  never  get  drunk  any  more, 
I'll  never  get  drunk  any  more ; 

I'll  lav  my  head  in  some  poor  man's  door, 
I'll  never  get  drunk  any  more. 

2  Once  I  had  a  fortune, 
I  laid  it  on  my  trunk  ; 

I  lost  it  all  hy  gambling 
One  night  when  I  was  drunk. 

3  Once  I  had  a  sweetheart 
My  laziness  did  ensnare  ; 
But  now  I've  got  no  money 
Her  poor  little  feet  go  bare. 

4  Once  I  had  fine  horses. 
I  fed  them  on  good  hay. 

I  swapped  them  off  for  whiskey 
One  cold  December  day. 

5  There  are  .  .  .  region. 

The  flames  they  do  not  wilt ; 
But  down  below  the  spring  house 
You'll  find  them  at  the  still. 

37 
Show  Me  the  Way  to  Go  Home,  Babe 

This  seems  to  be  a  fragment  of  the  desultory  Negro  lyric  that 
Odum  and  Perrow  collected,  though  this  particular  bit  does  not 
appear  in  their  collections  as  published  in  JAFL  xxiv  ^  255-94, 
351-96,  XXV  137-55,  ^xvi  123-73,  XXVIII  129-90.  Sbearin's  sylla- 
bus shows  it  known  in  Kentucky.  Although  our  texts  are  much 
alike,  it  seems  desirable  to  give  them  all,  for  comparative  study. 

A 

'Song.'     Communicated  by  Ethel  Hicks   Buffalo   from   Granville  county. 
No  date  given. 

Good  mornin',  Carrie. 

When  you  gwine  to  marry? 

I've  been  dreamin'  'bout  you, 

My  dusky  babe. 

Chorus: 

Show  me  the  way  to  go  home,  babe, 
Show  me  the  way  to  go  home ; 


68  NORTH  CAROLINA  FOLKLORE 

I've  been  drunk  for  the  past  six  months  ; 
Show  nie  the  way  to  go  home. 


'Oh,  Goodbye,  Babe,  Forever  More.'  From  Miss  Jeannette  Co.x,  W'ii? 
terville,  Pitt  county,  in  1921  or  1922. 

Oh,  goodbye,  babe,  forever  more. 
My  boozing  days  will  soon  be  o'er. 
I've  had  a  good  time,  as  you  may  see ; 
Just  see  what  booze  has  done  for  me. 

Show  me  the  way  to  go  home,  babe. 
Show  me  the  way  to  go  home  ; 
I  ain't  been  sober  since  last  October. 
Show  me  the  way  to  go  home. 

c 

'Negro  Fragment.'  This  also  comes  from  Miss  Cox,  and  with  the 
tune. 

Show  me  the  way  to  go  home, 

Show  me  the  way  to  go  home ; 

I  ain't  been  sober  since  last  October; 

Show  me  the  way  to  go  home,  babe. 

Show  me  the  way  to  go  home. 

Show  me  the  way  to  go  home ; 

I've  been  drunk  for  the  last  six  months; 

Show  me  the  way  to  go  home,  babe. 

D 

'Show  Me  the  Way  to  Go  Home."  Reported  liy  WilHam  B.  Covington  in 
1 91 3  from  "reminiscences  of  my  early  youth  spent  in  the  country  on 
the  border  of  the  sand  hills  of    Scotland   county." 

Show  me  the  way  to  go  home. 

Show  me  the  way  to  go  home ; 

I  ain't  been  sober  since  last  (  )ctober  ; 

Show  me  the  way  to  go  home,  babe. 

Show  me  the  way  to  go  home. 

Show  me  the  way  to  go  home. 

I've  been  drunk  for  the  last  six  months; 

Show  me  the  way  to  go  home,  babe. 

E 
'Show  "S\e  the  Way  to  Go  Home.'     From  T.ouisc   Bennett,   .Middleburg, 
Vance  county.     Not  dated. 

I  ain't  been  sober  since  last  October — 
Show  me  the  way  to  go  home. 
I's  been  drunk  for  de  last  six  months — 
Show  me  the  way  to  go  home. 


DRINK     AND     GAMBLING     SONGS  69 


'Show  Me  the  Way  to  Go  Home.'     From   Antoinette   Beasley,   Monroe, 
Union  county.     Not  dated. 

I  been  drunk  since  the  last  month. 
Show  me  the  way  to  go  home,  babe, 
Show  me  the  way  to  go  home. 
Ain't  been  home  since  last  October. 
Show  me  the  way  to  go  home,  babe, 
Show  me  the  way  to  go  home. 

G 

Lucille  Cheek  of  Chatham   county   reports  a  single   line:   "Haven't  been 
sober  since  last  October." 

H 

'Show    Me   the   Way   to    Go    Home.'      From   the   John    Burch    Blaylock 
Collection. 

1  Show  me  the  way  to  go  home, 
I'm  tired  and  I  want  to  go  to  bed. 

I  had  a  little  drink  about  an  hour  ago, 
And  it's  gone  right  to  my  head. 

2  Wherever  I  may  roam 
O'er  land  or  sea  or  foam. 

You'll  always  hear  me  singing  that  song, 
Show  me  the  way  to  go  home. 

38 
Pickle  My  Bones  in  Alcohol 

This  jocose  jingle  seems  to  have  a  special  appeal  for  Negroes, 
though  it  is  not  confined  to  them  nor  is  it,  probably,  of  Negro 
origin.  It  has  been  reported  from  New  York  (ANFS  368),  Ten- 
nessee (JAFL  XXVIII  130),  North  Carolina  (FSSH  438),  Georgia 
(FSSH  438),  Missouri  (OFS  iii  197-8),  and  from  Negroes  in 
Mississippi  (JAFL  xxviii  130).  In  a  form  which  probably  is  of 
Negro  origin  'lasses  and  corn  bread  take  the  place  of  alcohol :  so 
in  a  text  reported  from  Alabama  Negroes  (ANFS  277)  and  in 
some  of  our  North  Carolina  texts.  Or  the  two  notions  may  be 
combined,  as  in  our  A  text  and  in  Negro  versions  reported  from 
Alabama  (ANFS  368-9)  and  without  specific  locale  bv  Talley 
(Negro  Folk  Rhymes  26). 


'When  I  Die.'    Reported  by  Julian  P.  Boyd,  Alliance,  Pamlico  county,  as 
obtained  from  Duval  Scott,  a  pupil  in  the  school  there. 

I     When  I  die  don't  bury  me  deep ; 
Put  a  jug  o'  'lasses  at  my  feet. 


NORTH  CAROLINA  FOLKLORE 

Put  a  pone  o'  bread  in  my  hand, 

And  I'll  sop  my  way  to  the  promised  land! 

When  I  die  don't  bury  me  at  all ; 
Just  pickle  my  bones  in  alcohol. 

Put  a  bottle  of  booze  at  my  head  and  feet, 
And  then  PU  know  that  1  will  keep. 

For  Pm  a  man  w4io  must  have  a  little  likker 
When  Pm  dry,  dry,  dry ! 


'When   Colonel    Died.'      Reported   by    Miss    Gertrude   Allen    (afterwards 
Mrs.  Vaught )   from  Taylorsville,  Alexander  county.     Not  dated. 

I     When  Colonel  died  with  a  bottle  by  his  side 


2  When  I  die  don't  bury  me  at  all. 
Just  pickle  my  bones  in  alcohol. 

3  Put  a  bottle  of  booze  at  my  head  and  feet 
And  say,  'Colonel  died  in  joy  complete.' 

c 

'Drinking  Song.'     From  Lucille  Cheek,   Chatham  county. 

Oh,  when  I  die  don't  bury  me  at  all ; 
Just  pickle  my  bones  in  alcohol. 
Place  a  bottle  of  booze  at  my  head  and  feet. 
Tell  all  the  girls  Pve  gone  to  sleep. 


'When  I  Die.'  From  ]\Iiss  F.  Shuma,  in  1920.  Location  not  given.  The 
same  as  C  except  the  last  line,  which  runs  :  "So  these  old  bones  shall 
rest  in  peace." 


'When  I   Die.'     From   Miss  Kate  S.   Russell,   Person  county.     Here  the 
alcohol  has  disappeared. 

When  I  die,  want  you  bury  me  deep. 
Put  a  jug  of  lasses  at  my  head  and  feet. 
Pone  corn  bread  in  the  palm  of  my  hand ; 
Going  to  sop  lasses  in  de  promised  land. 


'O  When  I  Die  Don't  Bury  :\Ie  Deep.'  Contributed  in  1919  by  H.  H. 
Hanchey  as  heard  in  the  southeastern  part  of  North  CaroHna.  Like  E, 
but  has  its  last  line  in  the  more  familiar  fdrni:  "So  I  kin  sop  my  way 
to  de  promise  land." 


DRINK     AND     GAMBLING     SONGS  71 

39 

Sticks  and  Stones  May  Break  My  Bones 

This  line  is  found  in  Negro  songs  reported  from  North  Carolina 
and  Alabama  (ANFS  145)  which  are  not  specifically  drinking 
songs  but  are  concerned,  like  the  texts  here  presented,  with  the 
singer's  posthumous  reputation — an  element  which  Dr.  White  says 
occurs  "in  various  spirituals." 


'A  Drunkard's  Song.'  Contributed  in  1913  by  William  B.  Covington 
with  the  notation :  "Reminiscences  of  my  early  youth  spent  in  the  coun- 
try on  the  border  of  the  sand  hills  of  Scotland  County." 

Sticks  and  stones  may  break  my  bones, 

Say  what  you  please  when  I'm  dead  and  gone; 

But  I'm  gona  drink  corn  liquor  till  I  die, 

Till  I  die,  till  I  die, 

I'm  gona  drink  corn  liquor  till  I  die. 

B 

'Song.'     From  Louise  W.  Sloan,  Bladen  county.     No  date  given. 

I'm  a-living  high  till  I  die. 

Bet  your  life  I'm  a-living  mighty  high; 

Oh,  sticks  and  stones  for  to  breaker  my  bones, 

I  know  you'll  talk  about  me  when  I'm  gone 

But  I'm  a-living  high  till  I  die. 


'Ise  Gwine  to  Live  in  de  Harvest.'  Reported  by  Julian  P.  Boyd  as  ob- 
tained from  Duval  Scott,  one  of  his  pupils  in  the  school  at  Alliance, 
Pamlico  county. 

1  Ise  gwine  to  live  in  de  harvest. 
Till  I  die,  till  I  die ; 

Life  Ise  livin'  is  not  so  very  high ; 

Sticks  and  stones  gwine  break  my  bones, 

I  know  you  gwine  talk  about  me  when  Ise  gone ; 

Ise  gwine  live  in  de  harvest  till  I  die ! 

2  Ise  gwine  build  me  a  graveyard 
Of  my  own,  of  my  own ! 

Ise  gwine  build  me  a  graveyard  of  my  own. 
Sticks  and  stones  gwine  break  my  bones, 
I  know  you  gwnne  talk  about  me  when  Ise  gone. 
Ise  gwine  live  in  de  harvest  till  I  die ! 


72  NORTH  CAROLINA  FOLKLORE 

40 

Just  Kick  the  Dust  over  my  Coffin 

In  form  this  is  akin  to  'Pickle  My  Bones  in  Alcohol,'  above ;  but 
its  spirit  is  somewhat  different,  the  speaker  being  about  to  die  of 
love,  and  perhaps  it  should  not  be  here  among  the  drinking  songs. 
I  have  not  found  it  elsewhere.  The  manuscript  is  without  name  in 
the  Collection,  but  from  surrounding  circumstances  it  is  believed  to 
have  come  from  Obadiah  Johnson  of  Crossnore,  Avery  county. 

1  Just  kick  the  dust  over  my  coffin. 
Say,  'There  lies  a  jovial  young  lad :' 
Pile  the  earth  upon  my  carcass/ 
Then  carve  on  the  stone  at  my  head : 

Chorus: 

Oh,  ain't  it  a  wonderful  story 
That  love  it  will  kill  a  man  dead. 

2  Oh,  none  of  you  bawling  and  squalling 
Around  me  as  tho'  you'd  gone  mad ; 
Just  kick  the  dust  over  my  coffin 

And  tell  my  true  love  that  I  said : 


41 
The  Hidden  Still 

This  little  hymn  to  the  moonshiner's  still  I  have  not  found  else- 
where. 

'Down  under  the   Hill.'      Reported,   probably   in    1939,   by   S.    M.   Holton 
as  known  in  Buncombe  county. 

1  Down  under  the  hill 
There  is  a  little  still, 

W^here  the  smoke  goes  curling  through  the  air. 

You  can  easily  tell 

By  the  perfume  and  smell 

There  is  licker  in  the  air  close  hy. 

2  How  it  fills  the  air 
With  a  perfume  so  rare! 
'Tis  only  known  to  a  few. 
So  you  wrinkle  up  your  lip 
And  you  take  a  little  sip 

()f  the  good  old  mountain  dew. 

^  The  manuscript  has  an  alternative  reading  that   is   lictter :   "Pile  the 
earth  high  up  o'er  my  carcass." 


DRINK     AND     GAMBLING     SONGS  73 

42 

Moonshine 

This  laudation  of  the  potency  of  the  mountaineers'  favorite 
product  has  already  been  reported  by  Mrs.  Richardson  (A MS  94-5). 
Presumably  it  is  the  work  of  some  native  celebrant. 

'Moonshine.'     From  the  manuscripts  of  Obadiah  Johnson  of  Crossnore, 
Avery  county  ;  obtained  in  July  1940. 

1  Come  all  ye  boozefighters,  if  you  want  to  hear 
"Bout  the  kind  of  booze  they  sell  round  here, 
Made  way  back  in  the  swamps  and  hills 
Whar  there's  plenty  of  moonshine  stills. 

2  Whar  they  don't  give  a  darn  for  the  Volstead  law 
'N  for  prohibition  they  don't  give  a  straw. 
Made  of  buckeye,  lye,  and  cawn. 

And  was  bottled  up  in  some  barn. 

3  One  drop'U  make  a  rabbit  whup  a  fool  dawg, 
And  a  taste  will  make  a  rat  whip  a  wild  hawg ; 
Hit'll  make  a  mouse  bite  off  a  torn,  cat's  tail. 
Make  a  tadpole  have  a  fuss  with  a  whale. 

4  Hit'll  make  a  feist  bite  off  an  elephant's  mouth. ^ 
^lake  a  fool  dawg  put  a  tiger  to  rout ; 

Hit'll  make  a  toad  spit  in  a  black-snake's  face. 
Make  a  hard-shell  preacher  fall  from  grace. 

5  A  lamb  will  lay  down  with  a  lion 
After  drinkin'  that  ole  moonshine. 

Then  thrown  back  your  head  and  take  a  little  drink. 
And  for  a  week  you  won't  be  able  to  think. 

6  Then  you'll  just  take  another  little  bit. 
Then  git  ready  to  have  a  fit. 

First  thing  you  know  you're  awfully  tight 
And  out  in  the  street  a-tryin'  to  raise  a  fight. 

7  Then  you  begin  to  feel  awfully  sick ; 

You  think  you  feel  worse  than  the  very  ole  Nick. 
You  say  that  you'll  never  drink  it  any  more ; 
But  you've  said  that  a  hundred  times  before. 

8  The  moonshiners  are  gettin'  mighty  slick 
And  the  bootleggers  are  gettin'  mighty  thick ; 
If  they  keep  on  bagging  they  better  beware. 
They'll  be  selling  each  other.  I  declare. 

*  So  the  manuscript ;  but  the  rhyme  and  the  sense  call  for  "snout." 


74  NORTH  CAROLINA  FOLKLORE 

43 

Old  Corn  Licker 

Of  the  following  fragment  the  first  line  appears  in  a  parody  of 
'The  Old-Time  Religion'  reported  by  Perrow  from  South  Carolina 
(JAFL  XXVI  149),  and  a  similar  two-line  fragment  mider  the  same 
title  is  reported  from  Virginia  (JAFL  xxviii  133). 

'Old  Corn  Licker.'     Reported  in  1923  or  thereabouts — the  manuscript  is 
not  dated — by  Kate  S.  Russell  of  Roxboro,  Person  county. 


I  got  drunk  and  lost  my  hat ; 
Old  corn  licker  was  cause  of  dat. 


44 
Sal  and  the  Baby 

This  may  be  a  fragment  of  a  vaudeville  song.  I  have  not  found 
it  anywhere  in  print,  and  in  our  collection  it  comes  only  from 
Duplin  county. 

No  title.     From   Miss   Minnie   Bryan   Farrior,  Duplin  county.     No  date 
given. 

I  went  down  town  to  see  my  lady. 
Nobody's  home  but  Sal  an'  the  baby. 
Sal  was  drunk,  and  the  baby  crazy ; 
All  that  comes  of  being  so  lazy.^ 

45 
Sweet  Cider 

Apparently  a  fragment  of  the  song  reported  from  Tennessee 
(ETWVMB  86,  SSSA  184)  as  'Pretty  Little  Black-Eyed  Susan.' 
Ford,  Traditional  Music  of  America  41,  gives  it  as  a  square-dance 
song,  with  "Paddy"  in  place  of  "Sallie."  Most  likely  a  product, 
originally,  of  the  music-hall,  it  has  lived  in  memory  here  and  there 
in  the  Southern  mountains. 

'Sweet    Cider.'      Contributed    by    Clara    Hearne    of    PittsI)oro,    Chatham 
county,  in  1923. 

Where's  the  mule  and  where's  the  rider? 
Where's  the  gal  that  drinks  sweet  cider? 

Refrain: 

Sallie,  won't  you  have  some, 
Sallie,  won't  you  have  some, 
Sallie,  won't  you  have  some  of  my  hard  cider? 

^  Another  copy  of  this  same  quatrain  lias  here  "crazy." 


DRINK     AND     c;  A  MULING     SONGS  75 

46 

A  Little  More  Cider  Too 

Evidently  from  the  minstrel  stage,  this  has  become  a  college 
song,  and  is  so  entered  in  Wier's  Book  of  a  Thousand  Songs.  It  is 
very  generally  known  and  sung  but  has  not  often  been  admitted  to 
folk-song  collections.  It  is  reported  from  the  Midwest  (Pound  66) 
and  from  the  Ozark  region  (Ford  332-3 — with  "white"  and  "black" 
where  our  text  has  "blonde"  and  "brunette")  and  Henry  C.  Davis 
(JAFL  XXVII  249)  lists  it  as  sung  by  South  Carolina  Negroes. 


'A  Little  More  Cider.'     Reported  by  K.   P.  Lewis  as  taken  down  from 
the  singing  in  1910  of  Dr.  Kemp  P.  Battle  of  Chapel  Hill. 

1  I  love  the  blonde  girl  and  brunette,  and  I  love  all  the  rest, 
I  love  the  girls  for  loving  me,  but  I  love  myself  the  best. 
Oh,  dear,   I   am   so   thirsty,    I've  just  come   down   from 

supper ; 
I  drank  three  pails  of  apple-jack  and  a  tub  of  apple  butter. 

Chorus: 

A  Httle  more  cider,  cider,  cider,  a  little  more  cider  too, 
A  little  more  cider  for  Miss  Dinah,  a  little  more  cider 
too. 

2  When  first  I  saw  Miss  Snowflake,  'twas  on  Broadway  I 

spied  her, 
I'd  have  given  my  hat  and  boots,  I  would,  if  I  had  been 

beside  her. 
She  looked  at  me.  and  I  looked  at  her,  and  then  I  crossed 

the  street ; 
And  smilingly  she  said  to  me,  'A  little  more  cider  sweet.' 

3  I  wish  I  was  an  apple  and  Snowflake  was  another. 

To  tiiink  how  happy  we  would  be  upon  the  tree  together ! 
And  then  the  darkies  all  would  cry.  wdien  on  the  tree  they 

spied  her. 
To  think  how  happy  we  would  be  all  squashed  up  into 

cider. 

4  Now  old  age  comes  creeping ;  I  grow  ole  and  don't  get 

bigger, 
And  cider  sweet   and   sour  then,   but   I'm   the   same  ole 

nigger. 
Be  the  consequences  what  it  may,  long,  short,  or  wider, 
She  am  the  apple  of  my  eye,  and  I'm  boun'  to  be  beside 

her. 


yd  NORTH     CAROLINA     FOLKLORE 


'A  Little  More  Cider.'     Received  from  Otis  Kuykendall  of  Asheville  in 
1939-     Stanzas  2  and  3  of  A,  without  significant  variation. 


No  title.  From  the  manuscript  notebook  of  Mrs.  Harold  Glasscock  of 
Raleigh  lent  to  Dr.  White  in  1943.  Fragmentary;  the  first  half  of 
stanza  2,  the  chorus,  and  the  first  half  of  stanza  i  of  A,  witli  "blacks" 
and  "whites"  in  place  of  "blonde  girl"  and  "brunette." 

D 

'A  Little  More  Cider.'  From  Mrs.  Laura  M.  Cromartie  of  Garland, 
Sampson  county.  Fragmentary,  consisting  of  tlit  chorus  and  the  fol- 
lowing : 

1  Oh,  I  wish  I  was  a  great  big  horse  apple 
And  snowflake  was  another. 

What  a  pretty  pair  we  would  make 
Upon  the  tree  together ! 

2  How  mad  the  darkies  all  would  be. 
When  on  the  tree  they  spied  us. 
To  think  how  happy  we  would  be 
All  squashed  up  in  apple  cider ! 

3  Oh  dear  me,  I  am  so  thirsty ! 
I've  just  come  down  from  supper. 
I  had  a  pail  of  apple-jack 

And  a  tub  of  apple-butter. 


'A  Little  More  Cider  Sweet.'  Obtained,  apparently  in  1923,  by  Jesse 
T.  Carpenter  from  Mrs.  Mary  Martin  Copley  of  Durham.  The  chorus 
and  the  first  three  stanzas  of  A,  without  significant  variations  except 
that  the  chorus  seems  of  a  slightly  different  rlixthm: 

A  little  more  cider,  cider, 

A  little  more  cider  sweet ; 

A  little  more  cider  for  Miss  Dinah, 

A  little  more  cider  sweet. 


'A  Little  More  Cider.'  Contributed  in  1922  by  J.  H.  Burrus  of  Weaver- 
ville,  Buncombe  county,  with  the  music  and  the  notation  :  "This  old  folk- 
song was  used  for  an  old-fashioned  reel  and  cotillion  (or  square  dance)." 
The  text  here  has  undergone  extensive  changes,  having  picked  up  frag- 
ments of  several  other  songs. 

Chorus: 

A  little  more  cider  for  Miss  Dinah, 
A  little  more  cider  sweet. 


DRINK     AND     GAMBLING     S  O  N  c;  S  yj 

A  little  more  cider  for  Miss  Uiiiah, 
A  little  more  cider  sweeter. 

1  I  wish  I  was  an  apple 
And  Dinah  was  another  ; 

What  a  handsome  time  we'd  have 
Hanging  on  a  tree  together ! 

2  If  you  love  me  like  I  love  you 
\\'e'll  have  no  time  to  tarry, 

We'll  have  the  old  folks  flying  round 
Fixing  us  to  marry. 

3  If  I  were  only  young  again 
I'd  lead  a  different  life; 

I'd  make  some  money  and  huy  me  a  farm, 
Take  Dinah  for  my  wife. 

4  I  wouldn't  marry  an  old  woman, 
I'll  tell  you  the  reason  why; 
Her  neck's  so  long  and  stringy 
I'm  afraid  she'd  never  die. 

5  I  had  rather  marry  Dinah 
W  ith  an  apple  in  her  hand 
Than  to  marry  an  old  woman 
With  a  house  and  tract  of  land. 


'Plantation  Song.'  Contributed  by  Virginia  C.  Hall  (place  and  date  not 
given)  with  the  note:  "This  memory  is  of  a  gray  whiskered  old  gentle- 
man bouncing  a  little  boy  on  his  knee  and  singing  to  him  'plantation 
songs'  which  he  had  learned  as  a  child  from  the  Negroes  on  his  father's 
plantation."  Merely  the  first  two  lines  of  the  second  stanza  of  -A.,  and 
the  chorus  with  "sweet"  instead  of  "too." 


47 
Sucking  Cider  Through  a  Straw 

This  well-known  college  song  is  ascribed  in  Downes  and  Sieg- 
nieister's  Treasury  of  American  Song  290,  words  and  music,  to 
Carey  Morgan  and  Lee  David.  It  has  been  reported  as  folk  song 
from  Virginia  (FSV  172),  Tennessee  (BTFLS  v  38-9).  Georgia 
(ASb  329),  and  the  Midwest  (Pound  38,  ASb  329).  Only  a  frag- 
ment appears  in  our  collection. 

'The  Prettiest  Girl  I  Ever  Saw.'     Communicated  by  B.  S.  Russell,  Rox- 
boro.  Person  county.     No  date  given. 

The  prettiest  girl  I  ever  saw 

Was  sucking  cider  through  a  straw. 


78  NORTH     CAROLINA     I'OLKLORE 

48 

Drinking  Wine 

This  fragment  has  not  been  found  elsewhere.     Perhaps  it  is  from 
some  college  drinking  song. 

'Drinking    Wine.'      Reported    by    Gertrude    Allen    (later    Mrs.    Vaught) 
from  Taylorsville,  Alexander  county.     Not  dated. 

Drinking-  wine,  wine, 

Drinking  wine,  wine, 

Ought  a  been  three  fotn-  thousand  years 

Drinking  wine. 


49 

The  Journeyman 

The  song  of  'The  Roving  Journeyman,'  in  which  he  describes  his 
way  of  life  and  particularly  his  success  with  the  girls,  has  under- 
gone extensive  adaptations  in  this  country;  the  journeyman  has 
become  a  gambler,  a  soldier,  even  a  guerrilla  of  the  Civil  War.  See 
BSM  374-5,  and  add  to  the  references  there  given  Virginia  (FSV 
125-6),  Arkansas  (OFS  iv  356-60),  and  Indiana  (BSI  342-4). 
Fairly  persistent  through  these  transformations  are  the  lines 

She  took  me  in  her  parlor 
And   cooled  me   with   her   fan 

and  the  girl's  dialogue  with  her  mother,  which  form  the  substance 
of  the  texts  in  our  collection.  The  title  'Broom  Field  Town'  given 
to  the  first  text  seems  not  to  occur  elsewhere. 


'Broom  Field  Town.'  Reported  by  Thomas  Smith  of  Zionville,  Watauga 
county,  as  sung  by  Mrs.  Julia  Grogan  of  Silverstone  in  191 5.  Smith 
notes :  "She  heard  the  song  about  twenty-five  years  ago.  .  .  .  Mrs. 
Grogan  is  about  sixty.  Her  father,  John  Yarber,  came  to  this  county 
over  sixty  years  ago  .  .  .  from  the  Cheraw  Hills  of  South  Carolina" 
and  "was  a  popular  singer  here  just  after  the  Civil  War." 

1  I  rode  unto  my  journey 

Till  I  came  to  the  Broom  h^ield  Town. 

2  I  had  not  been  there  two  weeks, 
I  am  sure  it  was  not  three. 

Till  I  fell  in  love  with  a  pretty  little  girl 
And  she  in  love  with  me. 

3  I  asked  her  to  marry  me. 
To  see  what  she  would  say. 

She  said  she  would  ask  her  mother 
And  see  what  she  would  say. 


DRINK     AND     GAMBLING     SONGS  79 

4  'How  can  you  treat  me  so, 

To  leave  your  kind  old  mother 
And  with  the  soldier  go  ?' 

5  'Oh,  mother,  oh,  mother, 
I  love  you  well. 

But  how  much  I  love  the  soldier 
No  human  tongue  can  tell.' 

B 
'The  Rovin'  Gambler.'     From  the  John  Burch  Blaylock  Collection. 

1  I  am  a  rovin'  gambler, 

I  gambled  down  in  town; 

Whenever  I  meet  with  a  deck  of  cards 

I  lay  my  money  down. 

2  I  gambled  down  in  Washington, 
I  gambled  down  in  Spain ; 

I'm  going  down  to  Georgia 
To  gamble  my  last  game. 

3  I  had  not  been  in  Washington 
Many  more  weeks  than  three, 

When  I  fell  in  love  with  a  pretty  little  girl 
And  she  fell  in  love  with  me. 

4  She  took  me  in  the  parlor. 
She  cooled  me  with  her  fan ; 

She  whispered  low  in  her  mother's  ear, 
'I  love  that  gambling  man.' 

5  'Oh,  daughter,  oh,  dear  daughter, 
Why  do  you  treat  me  so  ? 

To  leave  your  dear  old  mother 
And  with  a  gambler  go?' 

6  'Oh,  mother,  oh,  dear  mother, 
You  know  I  love  you  well ; 

But  the  love  I  have  for  the  gambling  man 
No  human  tongue  can  tell. 

7  'I  can  hear  the  train  a-coming, 
Coming  round  the  curve. 
Whistling  and  blowing 

And  straining  every  nerve. 

8  *Oh,  mother,  oh,  dear  mother, 
I'll  tell  you  if  I  can ; 

If  ever  you  see  me  again 
I'll  be  with  a  gambling  man.' 


NORTH  CAROLINA  FOLKLORE 


'Journeyman.'  Collected  by  M.  F.  Morgan  in  Nash  county  "from  an  old 
lady."  Note  that  while  in  A  the  man  is  a  soldier  and  in  B  a  gambler, 
he  is  here  simply  a  journeyman,  as  in  the  original  song;  and  that  here 
the  girl,  not  the  man,  is  the  narrator. 

1  I  went  along  the  other  day, 
I  met  a  journeyman. 

I  fell  in  love  with  [the]  journeyman 
And  he  fell  in  love  with  me. 

2  I  took  him   [into]  my  parlor, 
I  cooled  him  with  my  fan ; 

I  whispered  in  my  mother's  ear, 
'I  love  that  journeyman." 

3  'Daughter,  daughter,  daughter, 
Don't  you  tell  me  so  ; 

For  if  you  love  that  journeyman 
Away  from  me  you  go.' 

Jack  of  Diamonds 

A  gambler's  song — in  one  text  the  song  of  the  gambler's  wife. 
It  is  known  in  Tennessee  (JAFL  xxviii  120-30),  Mississippi 
(FSM  207-8),  Texas  (CS  [1910  ed.]  292-4,  TNFS  279-80,  OSC 
303-5,  the  last  two  from  Negroes),  and  the  Ozarks  (OFS  in  405-9)  ; 
'Hustling  Gamblers,'  also  reported  from  Tennessee  (SSSA  102-4, 
ETWVMB  23-5),  has  the  "Jack  o'  Diamonds"  phrase;  a  song  re- 
ported from  Kentucky  (FSMEU  223-4)  voices  the  complaint  of  a 
gambler's  wife  but  it  is  not  the  same  song.  Our  four  texts  vary 
considerably,  wliich  is  not  surprising,  for  like  many  other  American 
folk  songs  it  is  an  aggregate  of  stanzas  some  of  which  may  be  used 
in  other  songs. 


'Jack  of  Diamonds.'     Reported  by  Edna  Whitley — unfortunately   without 
indication  of  time  or  place.     Stanza  2  seems  incomplete. 

1  Jack  of  diamonds,  I  know  you  of  old. 

You  raveled  my  pockets  for  silver  and  gold. 

For  silver  and  gold, 

You  raveled  my  pockets  for  silver  and  gold. 

2  I'm  ragged,  I'm  ragged,  I  am  ragged,  I  am  ragged, 
I  know  it's  nobody's  business  how  ragged  I  go. 

3  I'll  tune  up  my  fiddle,  I'll  raise  my  l)Ow, 
I'll  carry  sweet  music  wherever  I  go. 


DRINK      AND     C.  A  M  B  L  I  N  G     S  0  N  G  S  8l 

Wherever  1  go, 

I'll  carry  sweet  music  wherever  I  go. 

It's  not  this  long  journey  I'm  dreading  to  go, 
It's  leaving  this  country  and  the  people  I  know, 
And  the  people  I  know, 
It's  leaving  this  country  and  the  people  I  know. 


'A  Card- Player's  Song.'  From  Thomas  Smith,  Silverstone,  Watauga 
county,  probably  in  1915;  with  the  notation:  "This  song  has  been  sung 
in  this  part  of  the  country  a  good  many  years.  I  heard  some  card 
players  sing  it  18  or  20  years  ago.  There  are  several  people  near  here 
who  still  sing  it."     The  music  was  noted  by  Dr.  Brown. 

1  Jack  of  diamonds,  I  know  you,  I  know  you  of  old, 
You've  robbed  my  poor  pockets  of  silver  and  gold. 

2  I've  played  cards  in  England,  I've  played  cards  in  Spain, 
And  I'm  goin'  to  old  Ireland  to  play  my  last  game. 

c 

'Jack  o'  Diamonds."  Obtained  from  Obadiah  Johnson  of  Crossnore, 
Avery  county,  in  1940.  Here  it  is  in  the  mouth  of  the  gambler's  wife. 
The  second  stanza  is  one  of  the  movable  bits  of  folk  lyric;  see  BSM 
487,  488. 

1  Jack  o'  diamonds.  Jack  o'  diamonds.  I  know  you  of  old, 
You've  robbed  my  poor  pockets  of  silver  and  gold. 

2  I'll  build  me  a  log  cabin  on  yon  mountain  high. 
Where  the  blackbirds  will  see  me  as  they  pass  me  by. 

3  My  children  are  crying  for  the  w^ant  of  some  bread ; 
My  husband's  a  gambler  ;  I  wisht  I  was  dead. 


'Jack  o'  Diamonds."     Reported  by  Evelyn  Moody  of  Stanly  county  ;  not 
dated.     Only  a  single  couplet. 

Jack  o'  diamonds.  Jack  o'  diamonds,  I  know  you  of  old ; 
You  lost  me  a  fortune  in  silver  and  gold. 

51 
Shoot  Your  Dice  and  Have  Your  Fun 

From   Howell   J.    Hatcher,    Trinity   College   student,    December    5,    191 5, 
with  music.     .As  in  White  ANFS  364   (without  music). 

Shoot  your  dice  and  have  )'our  fun, 

I'll  have  mine  when  the  police  come. 

Police  come,  I  didn't  wanta  go ; 

I  knocked  him  in  the  head  wid  a  forty- fo'. 

.V.C.F.,  Vol.   Ill,    (8) 


82  NORTH  CAROLINA  FOLKLORE 

I  Got  Mine 

White  (ANFS  195-9,  200)  says  that  this  was  originally  a  vaude- 
ville song  that  attained  wide  popularity  among  the  Negroes,  and 
gives  texts  from  North  Carolina,  Georgia,  and  Alabama.  Perrow 
had  already  (JAFL  xxiv  369)  reported  it  from  the  singing  of 
Negroes  in  Mississippi.     The  texts  vary  rather  widely. 

'I    Got    Mine.'      Contributed    by    Otis    Kuykendall   of    Asheville    in    1939. 

1  I  went  out  to  a  nigger  crap  game ; 
It  was  against  my  will. 

Dem  coons  got  all  my  money 

Except  a  greenback  dollar  bill. 

A  hundred  dollar  bet  was  on  the  table, 

The  nigger's  point  was  nine ; 

Just  then  a  cop  stepped  through  the  door 

And  I  got  mine. 

Chorus: 

I  got  mine,  boys,  I  got  mine ; 

I  grabbed  that  hundred  dollar  bill. 

Through  the  window  I  did  climb. 

Ever  since  then  been  wearin'  good  clothes, 

Living  on  chicken  and  wine ; 

I'm  the  leader  of  Society 

Since  I  got  mine. 

2  I  went  out  to  a  buzzard  feast ; 
The  eatables  they  were  fine. 

Half  an  hour  before  that  table  was  set 
Dem  coons  all  formed  in  line. 
When  they  brought  that  eagle  in 
Their  eyes  began  to  shine. 
One  grabbed  that  eagle  by  the  neck, 
But  I  caught  on  behind. 

3  A  coon  in  front  thought  he  had  the  whole  thing. 
But  I  got  mine. 

I  tried  to  get  through  the  window, 
But  I  didn't  get  through  in  time ; 
I  eat  my  meals  from  a  mantel  piece 
Since  I  got  mine ! 


Ill 
HOMILETIC    SONGS 


THE  MUSE  of  folk  song  has  no  antipatliy  to  incjralizing ;  indeed, 
street  balladry  is  rather  fond  of  it.  But  among  the  preachments 
found  in  the  North  Carolina  collection  are  few  items  that  have  any 
long  traditional  history.  'When  Adam  Was  First  Created'  is  on  a 
theme,  the  proper  relation  between  man  and  wife,  that  goes  back 
to  Chaucer  and  less  definitely  to  medieval  sermonizing.  But  most 
of  the  pieces  of  social  moralizing,  'Pulling  Hard  against  the  Stream,' 
'Paddle  Your  Own  Canoe/  and  the  like,  are  certainly  modern. 
'Meditations  of  an  Old  Bachelor'  and  'Why  Do  You  Bob  Your 
Hair,  Girls?'  reprove  newfangled  fashions.  'Who  Is  My  Neigh- 
bor?' and  'You  Say  You  Are  of  Noble  Race'  are  apothegms.  Of 
those  of  a  more  definitely  religious  cast  'The  Wicked  Girl'  is  prob- 
ably the  oldest  and  certainly  the  most  widely  known. 

53 
When  Adam  Was  Created 

Whether  or  not  this  is  to  be  admitted  as  folk  song,  it  is  at  least 
traditional  and  embodies  a  piece  of  folk-wisdom — wisdom  that  goes 
back,  as  Jackson  (Dozvii-Easf  Spirituals  77-8)  shows,  to  Chaucer's 
"Parson's  Tale"  and  back  of  that  to  church  teachings  as  early  as 
the  twelfth  century.  As  traditional  song  it  exists  in  two  forms,  one 
of  which  may  be  called  the  English,  the  other  the  American  form. 
The  English  form  is  traceable  as  far  back  as  the  middle  of  the 
eighteenth  century  and  is  found  in  Bell's  Ballads  and  Songs  of  the 
Peasantry  of  England  (pp.  451-2  of  the  1877  print),  in  Baring- 
Gould's  Songs  of  the  Jl'cst  No.  100  (from  Devonshire),  in  Folk- 
Lore  XXIV  82  (from  (Oxfordshire),  in  Williams's  collection  (FSUT 
1 15-16,  from  Oxfordshire),  in  a  stall  print  without  printer's  name 
which  I  found  in  the  Harvard  College  Library  with  the  title  'The 
Honest  Man's  Favourite,'  and  is  the  version  given  by  Newell 
(JAFL  XII  250-1)  as  obtained  from  Mrs.  E.  Allen  of  Massachu- 
setts. The  American  version  is  reproduced  by  Jackson  from  The 
Social  Harp  of  1855  (SFSEA  41,  the  first  stanza  only)  and  from 
The  Original  Sacred  Harp  of  191 1  (SFSEA  74-5,  a  complete  text), 
is  that  which  has  been  attributed  to  Lincoln,^  was  found  by  Sharp 
in  North  Carolina  (SharpK  11  272),  and  is  in  our  collection.  Appar- 

^  So  I  am  informed  by  Professor  Francis  Lee  Utley,  of  Ohio  State 
University,  who  has  made  a  detailed   study  of  this   song. 


84  NORTH   CAROLINA   FOLKLORE 

ently  it  is  of  Southern  origin;  both  TJic  Social  Harp  and  The 
Original  Sacred  Harp  were  compiled  by  Georgians,  and  Newell's 
Massachusetts  text  represents  the  English,  not  the  American  version. 

A 

'When  Adam  Was  Created."  A  clipping  from  the  Lenoir  Ncu.'s  (also 
from  the  Lenoir  Times — or  are  these  one  publication?)  of  January 
27,  1914,  sent  in  by  J.  L.  Nelson.  The  piece  was  sent  to  the  paper 
by  S.  C.  Sherrill  with  a  note  that  it  was  sung  by  Mrs.  Nancy  Coffee 
at  the  age  of  eighty-four.  "Mrs.  Coffee  could  not  read,  but  had 
learned   many   hymns   when   young."     With   the   music. 

1  When  Adam  was  created  he  dwelt  in  Eden's  shade, 
As  Moses  has  related,  before  a  bride  was  made. 

Ten  thousand  times  ten  thousand  creatures  dwelt  around 
Before  a  bride  was  formed  or  any  helpmeet  found. 

2  He  had  no  conversation,  he  seemed  like  one  alone. 
Till  at  his  consternation  he  found  he'd  lost  a  bone. 
Great  was  his  admiration  when  first  he  saw  his  bride. 
Great  was  his  adoration  to  see  her  by  his  side. 

3  He  spoke  like  one  in  rapture:  T  know  from  whence  she 

came ; 
From  my  left  side  extracted,  and  woman  is  her  name.' 
This  seems  to  be  one   reason  why  man  should  love  his 

bride, 
A  part  of  his  own  body,  the  product  of  his  side. 

4  This  woman  was  not  taken  from  Adam's  head,  we  know, 
And  she  must  not  rule  over  him.  'tis  evidently  so. 

This  woman  was  not  taken  from  Adam's  feet,  we  see. 
And  he  must  not  abuse  her,  the  meaning  seems  to  be. 

5  This  woman  was  extracted  from  under  Adam's  arm. 
And  she  must  be  protected  from  injury  and  harm; 
This  woman  was  extracted  from  near  to  Adam's  heart. 
By  which  we  are  directed  that  they  should  never  part. 

6  Here's  counsel  to  the  bridegroom  and  counsel  to  the  bride: 
Let  not  this  loaded  volume  be  ever  laid  aside. 

The  book  that's  called  the  Bible  be  sure  you  don't  neglect. 
In  every  sense  of  duty  it  will  you  both  direct. 

7  To  you,  most  noble  bridegroom,  to  )'ou  1  lay  aside. 

Be  sure  to  live  a  Christian,  and  for  your  house  i)rovidc. 
Avoid  all  contentions,  sow  not  the  seed  of  strife; 
That  is  the  solemn  dutv  of  every  man  and  wife. 


'Adam   and   Eve.'      From    Miss    Sadie   Jolmson,   as    sung   by   her   grand- 
mother,   of    Dchart,    Wilkes    county,    in    i<).V>.      it    is    the    same    version 


II  <)  Mil.  K  T  I  f     S  O  N  <;  S  85 

as  A;  Init  it  lias  "maid"  instead  of  "hclpnifi-t"  in  line  4.  "adviration" 
instead  of  "consternation"  in  line  0,  "exultation"  instead  of  "admira- 
tion" in  line  7,  and  "alimation'  'instead  of  "adoration"  in  line  8,  and 
from  there  on,  though  the  matter  is  much  the  same,  it  has  been  so 
thoroughly  rearranged  that  it  seems  best  to  give  the  text  (it  is  here 
written  in  quatrains  of  short  lines,  so  that  the  stanza  numbering  is 
douliled )  : 

5  He  spoke  as  in  a  fapture : 

'I  know  fi-om  whence  she  came; 
From  my  left  side  extfacted. 
And  woman  is  her  name.' 

6  The  woman  was  not  taken 
From  Adam's  head,  we  know. 
And  he  must  not  ahuse  her, 
It's  evidently  so. 

7  This  woman  was  not  taken 
From  Adam's  feet,  we  see. 
And  she  must  not  rule  o'er  him. 
The  meaning  seems  to  he. 

8  This  woman  she  was  taken 
From  near  of  Adam's  heart, 
By  which  we  are  directed 
That  they  must  never  part. 

9  This  woman  she  was  taken 
From  under  Adam's  arm 
And  she  must  he  protected 
From  injury  and  harm. 

10  Here's  council  for  the  hridegroom, 
Here's  council  for  the  l)ride  : 

Be  sure  you  hoth  live  Christians 
And  for  your  house  provide. 

1 1  Avoiding  all  contention. 
Don't  sow  the  seeds  of  strife. 
This  is  the  solemn  duty 

Of  every  man  and  wife. 

12  This  hook  that's  called  the  Bihle 
Be  sure  you  don't  neglect ; 

In  every  scene  of  heauty 
It  will  you  both  direct. 


86  NORTH  CAROLINA  FOLKLORE 

54 

Pulling  Hard  against  the  Stream 

This  homely  homiletic  is  listed  in  the  Pound  syllabus,  p.  54.  and 
is  given  in  Spaeth's  IVcep  Some  More,  My  Lady,  pp.  157-9,  with- 
out author's  name.  The  California  Check  List  notes  a  print  of  it  by 
De  ^larsan,  New  York. 

"Fulling  Hard  against  the  Stream.'  Contributed  by  Miss  Elizabeth 
Janet  Black  of  Wilmington,  formerly  of  Ivanhoe._  Sampson  county. 
In   the   first   line   "word"   should   probably   be   "world." 

1  In  this  word  Pve  gained  my  knowledge, 
And  for  it  have  had  to  pay. 

Though  I  never  went  to  college 

Yet  Pve  heard  the  poets  say 

Life  is  like  a  mighty  river 

Rolling  on  from  day  to  day. 

Men  are  vessels  launched  upon  it, 

Sometimes  wrecked  and  cast  away.     So 

Chorus: 

Then  do  your  best  for  one  another, 
Making  life  a  pleasant  dream  ; 
Help  a  worn  and  weary  brother 
Pulling  hard  against  the  stream. 

2  Many  a  high,  good-hearted  fellow, 
Many  a  noble-minded  man. 
Finds  himself  in  water  shallow; 
Then  assist  him  if  you  can. 
Some  succeed  at  every  turning  ;^ 
Others,  too.  tho'  more  deserving, 
Have  to  pull  against  the  stream. 

3  If  the  wind  is  in  your  favor 

And  you've  weathered  every  s(iuall. 
Think  of  those  whose  luckless  labors 
Never  got  fair  winds  at  all. 
Working  hard,  contented,  willing. 
Struggling  thro'  life's  ocean  wide. 
Not  a  friend  and  not  a  shilling. 
Pulling  hard  against  the  stream. ^ 

4  Don't  give  way  to  foolish  sorrow. 
Let  this  keep  you  in  good  cheer : 
Brighter  days  may  come  tomorrow 

*  The  sixth  line  of  stanza  2,  "Fortune  favors  every  scheme."  has 
dropped  out  from  Miss  Black's  text;  and  the  last  word  of  stanza  3 
should  be  "tide." 


II  O  M  1  L  i:  T  I  C     S  0  N  G  S  87 


If  you  try  and  persevere. 
Darkest  nights  will  have  a  morning 
Tho'  the  sky  be  overcast ; 
Longest  lanes  must  have  a  turning 
And  the  tide  will  turn  at  last. 


55 
Paddle  Your  Own  Canoe 

This  song,  the  work  of  H.  Clifton,  must  have  achieved  consider- 
ahle  currency ;  it  is  given  in  both  the  Franklin  Square  Song  Col- 
lection (ill  91)  and  Heart  Songs  (286-7).  Davis  reports  it  from 
Virginia  (FSV  129). 

'Paddle    Your    Own    Canoe.'      Contributed    by    Miss    Duo    K.    Smith    of 
Houstonville,    Iredell   county.      Not   dated. 

1  I've  traveled  about  a  bit  in  my  time 
And  of  troubles  I've  seen  a  few, 
But  I  found  it  better  in  every  clime 
To  paddle  my  own  canoe. 

My  wants  are  small ;  I  care  not  at  all 
If  my  debts  are  paid  when  due ; 
I  drive  away  strife  in  the  ocean  of  life 
AMiile  I  paddle  my  own  canoe. 

Chorus: 

Then  love  your  neighbor  as  yourself, 
As  the  world  you  travel  through. 
And  never  sit  down  with  a  tear  or  frown. 
But  paddle  your  own  canoe. 

2  I  have  no  wife  to  bother  my  life. 
No  lover  to  prove  untrue  ; 

But  the  wdiole  day  long,  with  a  laugh  and  a  song, 

I  paddle  my  own  canoe. 

I  rise  with  the  lark,  and  from  daylight  till  dark 

I  do  wdiat  I  have  to  do ; 

I'm  careless  of  wealth  if  I've  only  the  health 

To  paddle  my  own  canoe. 

3  It's  all  very  well  to  depend  on  a  friend, 
That  is,  if  you've  proved  him  true  ; 

But  you'll  find  it  better  by  far  in  the  end 

To  paddle  your  own  canoe. 

To  borrow  is  dearer  by  far  than  to  buy, 

A  maxim,  though  old,  still  true  ; 

You  never  will  sigh  if  you  only  will  try 

To  paddle  your  own  canoe. 


0»  NORTH  CAROLINA  FOLKLORE 

4     If  a  hurricane  rise  in  the  mid-day  skies 
And  the  sim  is  lost  to  view, 
Move  steadily  by,  with  a  steadfast  eye. 
And  paddle  your  own  canoe. 
The  daisies  that  grow  in  the  bright  green  fields 
Are  blooming  so  sweet  for  you ; 
So  never  sit  down  with  a  tear  or  a  frown, 
But  paddle  your  own  canoe. 

56 
Why  Do  You  Bob  Your  Hair,  Girls? 

Sounds  more  like  a  preachment  than  an  attempt  at  humor,  yet  it 
may  have  come  from  the  vaudeville  stage.  Randolph,  reporting  it 
from  Arkansas,  savs  his  informant  called  it  a  Holv  Roller  song 
(OFS1V83-4). 

'Why   Do   Vou    Bob   Your   Hair,    Girls?"      Obtained    from    Mrs.    Minnie 
Church  of   Heaton,   Avery   county,   in    1930. 

1  Why  do  you  bob  your  hair,  girls? 
It  is  an  awful  shame 

To  rob  the  head  God  gave  you 
To  bear  the  flapper's  name. 

2  You're  taking  off  your  covering. 
It  is  an  awful  sin. 

Don't  never  hob  your  hair,  girls; 
Short  hair  belongs  to  men. 

3  Why  do  you  bob  your  hair,  girls? 
It's  not  the  thing  to  do. 

Just  wear  it,  always  wear  it, 
And  to  the  Lord  be  true. 

4  And  when  before  the  Judgment 
You  meet  the  Lord  up  there. 

He'll  say  'well  done'  for,  wandering. 
You've  never  bobbed  vour  hair. 


57 
Meditations  of  an  Old  Bachelor 

This,  doubtless  from  the  music-hall  stage,  modernizes  a  theme 
of  which  the  pioneer  age  was  fond.  See  'Tlie  Carolina  Crew,'  and 
'When  Young  Men  Go  Courting,'  and  compare  BSAI  426.  This 
particular  embodiment  of  the  theme  has  not  been  found  elsewhere. 
'Meditations  of  an  Old  Bachelor.'  Reported  liy  Macie  Morgan,  Stanly 
county. 


H  O  M   1  I.  K  TIC     SON  C.  S  89 

1  The  girls  today  are  different  from  those   I   used  to  know. 
They  never  seem  contented  unless  they're  on  the  go. 

I  can't  quite  understand  them;  I'm  fond  of  them,  it's  true, 
But  they  ahvays  keep  you  guessing  as  to  what  they'll  say 
or  do. 

2  These  made-up  girls  don't  please  me.     At  heart  I'm  really 

sick 

Of  painted  checks  and  eyebrows  and  abundance  of  lip- 
stick. 

On  costly  shows  and  cabarets  your  time  and  money's  spent. 

The  modern  girl,  without  a  doubt,  [isj  always  pleasure- 
bent. 

3  The  styles  are  all  so  different:  short  hair,  short  dresses 

too. 
Womanly  characteristics  that  we  loved  and  prized  are  few. 
But  these  modern  girls  are  clever,  and  will  keep  you  on 

the  go, 
And  if  you  please  their  fancy  they'll  surely  let  you  know. 

4  No  courting  by  the  fireside  as  in  the  days  of  old. 

But  on  the  highways  riding,  in  weather  warm  or  cold. 
They  call  you  up  and  make  the  dates,  do  their  courting 

too. 
Now  this  is  just  their  way,  you  say  ;  to  me  it's  wholly  new. 

5  The   old-time  girls   were  modest,   endowed   with   queenly 

grace. 
With  voices  soft  and  tender,  a  blessing  to  the  race. 
Now  the  mannish  girls  confront  us,  no  more  that  graceftil 

curl. 
The  average  man  is  yearning  for  the  good  old-fashioned 

girl. 

6  In  dreams  I'm  often  with  them,  the  girls  of  other  days. 
The    happy    blushing    maiden,    who    walked    in    wisdom's 

ways. 
\\  hen  with  these  gay  young  creatures  my  mind's  kept  in  a 

whirl ; 
I'm  longing — sadly   longing — for  the  good  old-fashioned 

girl. 

58 
The  Thresherman 

Well  known  in  the  old  country — Burns  contributed  a  text  to  the 
1792  edition  of  Johnson's  Miiscidii,  and  it  is  still  remembered  in 
Scotland    ( Ord    48-9);    it    has    been    reported    from    Westmorland 


90  NORTH     C  x\  R  O  L  I  N  A     1'  O  L  K  L  0  R  E 

(JFSS  V  299).  Berkshire  and  Oxfordshire  (FSUT  138),  Essex 
(JFSS  II  198-9),  Sussex  (JFSS  i  79),  Hampshire  (JFSS  iii 
202-3),  and  Dorset  (JFSS  v  202,  tune  only),  and  is  also  to  be 
found  in  stall  ballad  print — but  infrequently  recorded  in  America : 
Vermont  (VFSB  157-9,  from  the  Green  Mountain  Songster  of 
1823),  New  Jersey  (JAFL  lii  60),  Virginia  (JAFL  xxx  354-5, 
FSV  169),  Arkansas  (OFS  i  436),  and  now  from  North  Carolina. 

'Jolly  Thrasher.'  Contributed  by  Juanita  Tillett  of  Wanchese,  Roanoke 
Island,  in  March,  1923. 

1  As  I  rode  out  a-htmting.  a-htmting  one  day, 
I  met  a  jolly  thrasher  all  on  the  highway. 

With  a  staff  upon  his  shoulder  and  a  bottle  of  good  beer 
He  was  as  happy  as  a  lord  with  a  thousand  pounds  a  year. 

2  'O  thrasher,  jolly  thrasher,  come  tell  to  me  now 
How  you  maintain  your  family  with  only  one  cow. 
Your  family  it  is  large  and  your  wages  they  are  small, 
And  how  you  maintain  them  I  know  not  at  all.' 

3  'Sometimes  a-hedging,  a-ditching  I  go. 
Sometimes  I  reap  and  other  times  I  mow, 
Other  times  1  follow  the  harrow  and  the  plow. 
I  earn  all  my  money  by  the  sweat  of  my  brow. 

4  'When  I  go  home  at  night  just  as  tired  as  I  can  be. 

I  take  the  youngest  child  and  I  dangle  him  on  my  knee. 
The   other  ones  around  me  with   their   racket  and  their 

noise ; 
And  that's  all  the  comfort  a  poor  man  enjoys.' 


59 
You  Say  You  Are  of  Noble  Race 

This  fragment  has  not  been  found  elsewhere.  The  collector's 
account  of  it  suggests  that  the  whole,  if  it  could  be  recovered, 
would  probably  be  a  piece  of  moralizing. 

No  title.  Contributed  by  Thomas  Smith  of  Zionville,  Watauga  county, 
in  1915  with  the  following  note:  "Mrs.  Polly  Rayfield  recalls  one  verse 
(if  an  old  song  sung  by  Thomas  Williams  (who  was  a  great  singer  of 
old  songs)  over  40  years  ago.  Nothing  more  of  the  song  can  Mrs. 
Rayfield  remember — not  even  the  story,  except  that  it  was  about  a 
'stuck  up'  young  lady  who  refused  to  marry  a  young  man  because  he 
was  of  a  poor  class  of  people." 

Yoti  say  yoti  are  of  noble  race 
And  1  of  low  degree. 
We  are  all  of  Adam's  race ; 
Pray,  what  more  can  we  be? 


H  0  M  I  L  E  T  I  C     S  O  N  G  S  9I 

60 

Will)  IS  AU'  Nkic.hbor? 

A  bit  of  moralizing  which  I  have  not  found  elsewhere. 

'Who  is  my  Neighbor?'     Reported  by  Carl  G.  Knox  of  Durham  in  1924 
or  1925.     With  the  tune. 

'Who  is  my  neighbor  ?' 
Hear  the  poor  Jew  cry. 
'Who  will  a-yescort  me? 
Help  me  ere  I  die.' 

61 
Dying  from  Home  and  Lost 

Randolph,  reporting  this  song  from  Arkansas  and  Missouri  (OFS 
IV  41-3),  says  it  seems  to  be  part  of  a  longer  song  written  by  the 
Reverend  S.  M.  Brown  and  published  in  his  Songs  of  Zion  with  a 
copyright  date  of  1892,  and  he  quotes  from  a  later  print  (James 
D.  Vaughan's  Crowning  Praises,  191 1,  in  which  it  appears)  the  de- 
tailed story  of  the  young  man  in  whose  mouth  the  song  is  put, 
killed  in  a  bridge-building  accident  in  Kansas  City. 

'Dying  from  Home  and  Lost.'     Contributed  by  O.  L.   Coffey  of   Sinill's 
Mills,  Watauga  county,  in  August  1939. 

1  Companion,  draw  nigh.     They  say  I  must  die ; 
Early  the  stnnmons  lias  come  from  on  high. 
The  way  is  so  dark !     And  yet  I  must  go. 
Oh,  that  such  sorrow  yott  never  may  know  ! 

Chorus: 

Only  a  prayer,  only  a  tear. 
Oh,  if  sister  and  mother  were  here ! 
Only  a  song;  'twill  comfort  and  cheer, 
Only  a  word  from  that  book  so  dear. 

2  Ah,  can  you  not  bow  and  pray  with  me  now? 
Sad  the  regret — we  have  never  learned  how 
To  come  before  him  who  only  can  save, 
Leading  in  triumph  through  death  and  the  grave. 

3  And  can  you  not  sing  a  song  of  his  love? 
How  he  came  down  from  the  mansion  al)ove 
To  bleed  and  to  die  on  Calvary's  tree, 
Bringing  salvation  to  sinners  like  me. 

4  Alas,  it  is  so.     But  thus  it  must  be, 

No  word  of  comfort  or  promise  for  me ; 
To  die  without  God  or  hope  in  his  son, 
Covered  in  darkness,  bereaved  and  undone. 


92  X  ()  K  T  11      C  A  R  0  L  I  X  A      1*  ()  L  K  L  0  R  E 

S     (  )  people  of  God  who  have  his  l)lest  word, 
Will  you  not  heed  the  command  of  your  Lord 
And  puhlish  to  all  of  Adam's  lost  race 
Pardon,  forgiveness,  salvation  through  grace? 

62 

The  Wicked  (hrl 

Belden  BSM  460-4  gives  an  account  of  tlie  liistury  of  thi^  ballad, 
indicating  its  American  (possibly  New  England)  origin;  cites 
printed  and  traditional  appearances  (including,  among  die  former. 
The  Original  Sacred  Harp,  and  among  the  latter,  versions  from 
Jamaica,  Rhode  Island,  Virginia,  West  Virginia,  Mississippi,  Arkan- 
sas, Indiana,  and  Iowa)  ;  and  prints  four  Missouri  texts.  See  Hud- 
son JAFL  XXXIX  175  ff.  for  a  counterpart  from  Mississippi.  Add 
Chappell  FSRA  194,  Eddy  BSO  305-6,  Brewster  BSI  303,  Ran- 
dolph OFS  IV  16-20,  and  Davis  FSV  298. 

Of  the  following  North  Carolina  texts,  A  has  considerable 
antiquity  as  judged  by  American  folk-song  tradition.  In  order  and 
content  of  stanzas  and  in  rhymes  it  is  close  to  the  Missouri  A  text, 
but  lacks  a  stanza  corresponding  to  the  last  stanza  of  that  text. 

A 
'Young  People  Hark.'  From  the  Adams  manuscript  book  (western 
North  Carolina,  1824-5),  owned  by  W.  Amos  Abrams  and  copied  by 
him  for  the  Frank  C.  Brown  Collection  in  1944.  Professor  Abrams  notes 
that  he  has  several  variants  and  that  the  song  is  known  as  'Wicked 
Polly,'  'The  Dying  Girl  Unprepared  to  Meet  Her  God,'  'The  Downward 
Road  Is  Crowded.'  etc.  The  manuscript  spellings,  lines,  and  stanzas 
have  been   followed  zr/'/x//;;;;  ct  scriafi)ii. 

1  Young  people  hark  &  I  will  tell 
the  misteries  of  a  soul  in  hell 

a  woman  who  was  young  &  fare 
Who  died  in  sin  and  black  dispare 

2  Her  tender  parents  oft  did  pray 
for  her  poor  soul  from  day  to  day 
they  gave  her  council  good  advice 
hut  she  delighted  still  in  vice 

3  Shed  go  to  frolick  dance  and  play 
in  spite  of  all  her  friends  could  say 
I'll  return  to  (iod  when  I  am  old 
And  then  he  will  recieve  my  soul 

4  .\t  length  she  heard  the  spirit  say 
thou  sinful  wreach  forsake  thy  way 
And  tiu'n  to  mv  or  you  shall  dwell 
for  ever  in  the  flames  of  hell 


H  O  M  I  L  E  T  1  C     S  O  N  i;  S  93 

5  I  am  too  young  she  then  rephde 
my  comrades  all  will  me  deny 
the  spirit  then  bid  her  farwell 

and  so  to  commits  this  wreach  to  hell 

6  it  was  [  ?|  not  long  ere  death  did  come 
to  call  this  hapless  sinner  home 

and  where-upon  her  diing  bed 
she  calld  her  friends  &  thus  she  sd 

7  My  friends  1  bid  you  all  farwell 
I  die  I  die  I  sink  to  hell 

there  I  must  lie  &  scream  &  cry 

(down  I 

Im  lost  I  am  [  ]  ft)rever  more 

I  doom  I 

8  her  tender  parents  she  address 

I  hope  your  souls  will  boath  be  blest 
but  your  poor  child  you  now  may  se 
but  soon  will  be  in  misery 

amen 

B 

'A  Sad  Parting.'  From  Mrs.  Minnie  Church,  Heaton,  Avery  county, 
1930.  This  is  close  to  Brewster's  BSI  303  text,  from  Indiana,  having 
one  more  stanza   (the  last)  than  that. 

1  Young  {)eople  who  delight  in  sin. 
I'll  tell  you  what  has  lately  I)een  : 
A  lady  who  was  young  and  fair. 
She  died  in  sin  and  dark  despair. 

2  She'd  go  to  frolics,  dance,  and  play, 
In  spite  of  all  her  friends  could  .say. 
'I'll  ttu'n  to  God  when  1  get  old. 
And  tlu'n  lie  will  receive  my  soul.' 

3  On  I^^-iday  she  was  taken  ill ; 
Her  stubborn  heart  began  to  fill. 
'Alas  !     Alas  !     My  days  are  spent — 
Too  late,  too  late  now  to  repent.' 

4  She  called  her  mother  to  her  bed  ; 
Her  eyes  were  rolling  in  her  head. 
'Oh,  earthly  mother,  farewell ; 

Your  wicked  daughter  screams  in  hell.' 

5  She  called  her  father  to  her  bed. 
Her  eyes  still  rolling  in  her  head. 
'Oh,  earthly  father,  farewell ; 

I\Iv  soul  is  lost  and  doomed  in  hell.' 


94  N  O  R  T  11      C  A  R  ()  I.  I  N  A     I"  O  L  K  L  0  R  E 

6  She  gnawed  her  tongue  before  she  died. 

She  wrung  her  hands,  she  screamed,  she  cried 

"Oh,  must  I  burn  forever  more. 

Ten  thousand  years  rolls  o'er  and  o'er? 

7  "Young  people  all.  with  one  accord 
Take  warning  by  my  dying  word. 
You  may  escape  these  Hellish  flames 
While  I  am  doomed  to  Endless  Pain." 


'Wicked  I'olly."     A  phonograph  recording  made  b}-  Mrs.  Church  in  i«J39. 
The  record  has  not  lieen  transcribed. 


No  title.  One  of  several  songs  sent  in  September  1944  to  Professor 
A.  P.  Hudson,  Chapel  Hill,  by  Mrs.  Katherine  Thomas,  a  teacher  in 
the  Durham  High  School  for  Negroes,  who  had  been  a  member  of  one 
of  Professor  Hudson's  classes  at  the  North  Carolina  College  for  Negroes, 
Durham,  in  the  spring  of  1943.  Regarding  the  songs,  Mrs.  Thomas 
wrote,  "I  secured  most  of  them  from  my  students." 

1  Young  people  who  delight  in  sin, 
I'll  tell  you  what  has  lately  been. 
A  lady  who  was  young  and  fair 
Who  died  in  sin  and  sad  despair. 

Chorus: 

She'd  go  to  frocks,^  dance,  and  play, 
In  spite  of  all  her  friends  wotild  say. 
T'U  turn  to  God  when  I  am  old, 
And  then  he  will  receive  my  soul.' 

2  On  Friday  morning  she  took  sick. 
Her  stumble  heart  begin  to  break. 
'Alas,  alas,  my  days  I've  spent. 
Too  late,  too  late  for  to  repent !' 

3  .She  gnaw  her  tongue  before  she  died. 

She  gown,  she  moun,  she  scream,  she  cried, 

'( )h,  must  I  burn  forever  more 

Till  tbou.sand.  thousand  davs  arc  old?' 

4  She  said.  'Oh,  mother,  mother,  tell  my  mates 
To  turn  to  Ciod  and  seek  His  faith, 

Upon  their  needs  for  mercy  cry. 
In  sin  and  shame  like  Mary  died.' 

*  So  in  the  manscript.    Read  'frolick,' 


II  U  M  I  L  E  T  1  C     SO  N  c;  S  95 

63 

A  Poor  Sinner 

Tliis  resembles  in  theme,  tone,  and  style  'The  Wicked  Girl,'  above, 
but  seems  to  be  an  independent  homiletic  ballad.  Dorothy  Scar- 
borough, SCSM  "Ji,  says  that  a  Mrs.  J.  G.  Stikeleather  of  Asheville 
"sang  a  fragment  of  song  with  a  Kentucky  scene"  and  prints  a 
text  with  stanzas  corresponding  to  the  first  and  last  of  the  following. 

'A  Poor  Sinner.'  From  Miss  Monnie  McDonald,  Lillington,  Harnett 
county.  Not  dated.  "From  her  grandmother,  as  sung  at  a  camp  meet- 
ing at  Cool  Springs  Methodist  Church,  near  Lillington,  N.  C,  during 
the  Civil  War."     A  line  seems  to  have  been  lost  from  the  third  stanza. 

1  Hark,  sinner,  hark,  while  1  relate 
What  happened  in  Kentucky  State. 
A  poor  young  woman  lately  died ; 

She  dropped  from  all  her  wealth  and  pride. 

2  She  once  professed  the  Lord  to  know 
And  did  with  saints  to  meeting  go, 
But  the  young  sinner  drew  her  on 

And  brought  her  soul  to  laugh  and  scorn. 

3  She  called  her  father ;  thus  she  said : 
'Oh,  father,  mother,  fare  you  well ! 
Oh,  brother,  sister,  fare  you  well !' 

4  'Oh,  loving  Betsy,  fare  you  well ! 
I'm  afraid  your  soul  has  gone  to  hell.' 
She  closed  her  eyes  ;  her  nails  turned  blue  ; 
And  she  bade  this  world  adieu. 

64 

Advice  to  Sinners 

With  music.  From  Miss  Fannie  Grogan,  Silverstone,  Watauga  county. 
Words  and  air  by  Miss  Grogan  as  "written  April  16,  1916,  for  Lawton 
Grogan." 

I      Oh,  Sinner,  you'd  better  take  heed  to  the  Saviour's  word 
today. 
You  will  follow  the  Christian  round  and  still  you  will  not 

pray. 
God  in  his  angry  frown 
Some  day  will  cut  you  down. 
For  your  body  has  to  lie  in  the  ground. 

Chorus: 

Your  body  has  to  lie  in  the  ground. 
You  will  follow  the  Christian  round. 


96  X  ()  R  T  H      L   A  k  O  1.  I  X  A      FOLKLORE 

And  \(tu'll  trv  to  i)ull  him  down  ; 

But  vour  body  has  to  he  in  the  ground. 

2  You  join  the  church,  poor  Sinner,  with  sin  polhite  God's 

land. 
You  never  will  be  able  before  your  Cod  tcj  stand. 
You  will  travel  on  your  ways. 
And  you'll  sin  away  your  days ; 
For  your  body  has  to  lie  in  the  ground. 

3  Oh.  Death  will  soon  recei\e  you;  your  breath  you'll  cease 

to  draw. 
When  followed  by  the  dragon  it  is  then  too  late  to  war. 
Woe  and  misery  you  will  see 
Throughout  all  eternity  ; 
For  your  body  has  to  lie  in  the  ground. 

4  When  Gabriel  sounds  his  trumpet,  poor  Sinner,  you'll  be 

lost. 
You'll  see  the  good  old  Christian  come  wagging  with  his 

cross, 
With  his  garments  white  and  clean. 
Crying,  'Lord,  I've  been  redeemed.' 
For  your  body  has  to  lie  in  the  ground. 

5  Now  turn  your  back  on   Satan  and  give  the  Lord  vour 

heart. 
My  God  sits  in  His  kingdom  and  always  does  His  part. 
Oh,  the  angels  they  will  shout 
When  He  casts  the  Devil  out. 
For  your  body  has  to  lie  in  the  ground. 

6  One  minute  spent  in  Glory  will  satisfy  your  mind 

For  all  the  worldly  pleasure^  that  you  have  left  behind. 

You  will  fly  around  God's  throne 

W'ith  Peter.  James,  and  John. 

For  your  body  has  to  lie  in  the  ground. 

65 
Wild  (  )ats 

There  are  in  the  Collection  two — somewhat  contradictory — ver- 
sions of  what  Mrs.  Emma  M.  Backus  reports  (JAFL  xiv  297)  as 
a  sinji^ing-  f^ame  played  in  rural  Connecticut  in  1865.  Mrs.  L.  D. 
Ames  reports  it  as  a  ])lay-])arty  song-  in  Missouri  (JAFL  xxiv 
314).  See  also  Botkin,  API'S  36,  58  n.,  and  170-1.  There  is  noth- 
inji^  to  show,  however,  that  it  is  a  i)lay-party  song  in  North  Caro- 
lina.     It  seems  rather  to  he  homiU'tic. 


II  O  M  1  I.  K  TIC     SON  (i  S  97 


Turn,  Young  Men.'  From  Miss  Gertrude  Allen  (afterwards  Mrs. 
Vaugiit),  Taylorsville,  .\lexander  county.  Not  dated,  but  sent  in  some 
time  ill  the   1920s. 

Turn,  young  men.  from  your  evil  ways ; 
Go  sow  yoin-  wild  oats  in  the  early  days — 
That  you  may  be  happy  when  you  grow  old. 

B 
No  title.     From  Ethel   Brown,  Catawba  county.     Not  dated. 

Turn  ye,  young  men,  from  your  evil  ways ; 
Don't  sow  wild  oats  in  your  early  days — 
That  you  may  be  happy  when  you  grow  old. 

66 

You  Can  Run  on  a  Long  Time 

From  Julian  P.  Boyd,  Alliance,  Pamlico  county,  as  collected  from  Min- 
nie Lee,  a  pupil;  undated,  but  c.  1927-28.     "Negro  fragment." 

1  When  I  looked  down  into  holiness, 
I  saw  it  true  and  plain  ; 

I  saw  that  I  could  not  despise  his  word 
And  in  his  love  remain. 

Chants: 

You  can  run  on  a  long  time 

With  the  cover  of  the  world  pulled  over  your  face ; 

You  can  run  a  long  time ; 

But  your  sins  are  going  to  find  you  out. 

2  Let  me  tell  you  about  a  liar. 
He  won't  do  to  trust ; 

He'll  tell  a  lie  to  make  a  fuss, 
Tell  another  to  make  it  wuss. 

3  See  that  sister  shoutin'  ? 
She  seems  to  be  mighty  glad. 

But  when  you  tell  the  gospel  truth, 
You  are  sho'  to  make  her  mad. 

4  We  have  some  folks  in  de  church. 
You  have  often  heard  it  said  ; 
You  just  can't  live  that  holy  life 
L'Util  you  get  upon  your  dying  bed. 

5  ^^  e  have  some  brethren  in  the  church 
Who  believe  in  having  two  wives. 

X.C.F.,  Vol.  TII.   (9) 


98  N  0  K  T  II     C  A  K  O  L  I  N  A     F  O  L  K  L  0  R  K 

Vou  can  call  them  up  into  counsel 
r>ut  their  temper  will  l)egin  to  rise. 

6  Some  women  loving  other  women's  husbands; 
They  had  better  be  loving  their  own. 

If  they  haven't  got  one.  they  had  better  get  one, 
Be  ready  when  the  judgment  comes. 

7  You  told  me  you  had  been  converted ; 
Be  sure  you  do  not  lie. 

They  say  that  in  my  leather's  house 
They  are  holy  and  satisfied. 

8  \Ve  have  some  sisters  in  the  church  ; 
They  say  I  am  growing  cold  ; 

They  say  I'm  doin'  nothin'  wrong 
But  tattlin'  from  do'  to  do'. 


IV 
PLAY-PARTY    AND    DANCE    SONGS 


THE  PLAY-PARTY  is  an  American  institution,  a  compromise 
between  the  ineradicable  love  of  social  merrymaking  and  the 
Puritan  distrust  of  dancing  as  one  of  the  wiles  of  the  devil. 
Throughout  wide  reaches  of  American  life,  especially  along  the  ever- 
moving  frontier  in  the  latter  half  of  the  nineteenth  century,  young 
people  would  get  together  for  an  evening  not  for  dancing,  for  danc- 
ing was  not  respectable,  but  for  a  play-party.  And  what  was  a  play- 
party  ?  Why,  it  was  a  dancing  party  in  everything  except  the  name 
and — in  most  communities — the  help  of  instrumental  music.  For  the 
parlor  organ  was  not  very  well  suited  to  dance  music,  and  the  fiddle 
and  the  banjo  were  gadgets  of  the  devil.  But  dancing  without 
music  to  lift  and  carry  the  rhythm  would  be  a  dull  affair;  and  so 
they  sang.  The  songs  are  of  various  origin.  Many  of  them  are 
old  English  songs  used  in  singing  games  of  the  sort  gathered  by 
Lady  Gomme  in  the  old  country  and  by  William  Wells  Newell  in 
the  United  States.  INIany  of  these  are  still  used  as  children's  games 
in  America,  and  the  play-party  is  in  considerable  part  a  relic  of 
these  games,  become  the  play  no  longer  of  children  but  of  grownups. 
Others  have  been  adopted  from  the  minstrel  stage ;  others  are  mem- 
ories of  the  frontier,  of  the  War  of  1812,  of  the  Mexican  War. 
Some,  like  'Old  Joe  Clark'  and  'Uncle  Joe  Cut  Off  His  Toe,'  have 
no  discoverable  origin  and  no  very  fixed  content  but  a  swinging  tune 
that  ensures  their  popularity.  And  some  are  simply  old  dance  tunes 
with  words  to  carry  them,  like  'Pop  Goes  the  W'easel'  and  "Turkey 
in  the  Straw.' 

North  Carolina  has  never  been  so  definitely  in  the  Bible  belt  as 
many  of  the  Midwestern  states.  The  fiddle  and  the  guitar,  and 
especially  the  banjo,  have  never  been  without  their  devotees  in  the 
Old  North  State.  Accordingly  we  find  in  our  collection  many  songs 
or  fragments  of  songs  described  as  favorites  with  "banjo  pickers," 
and  these  we  have  included  in  this  section.  There  are  also  a  con- 
siderable number  of  songs  which  are  not  labeled  by  the  contributors 
as  play-party  songs  or  dance  songs  but  which  seem  from  their 
structure  and  content  likely  to  have  been  used  as  such.  These  we 
have  assembled  at  the  close  of  the  section. 


100  i\  0  r  t  ii    c  a  r  o  l  i  n  a    i-  o  l  k  l  0  r  e 

W'eevilv  Wheat 

Perhaps  tlic  most  widely  known  and  used  of  play-party  songs  is 
this  relic  of  the  Jacobite  sentiment  of  two  hundred  years  ago.  See 
Botkin's  The  American  Play-Party  Song  345-51  a"fi  the  McLendon 
finding  list  in  SFLQ  viii  228,  and  add  X'irginia  (  FSV  223-4)  and 
the  oV.arks  ( OFS  in  297-301).  Not  infrequently  all  trace  of  its 
Jacobite  origin  has  been  lost. 


"Over    the    River    to    Feed    the    Sheep."      Contributed    in    1920   by    O.   J. 
Burrus. 

1  As  I  come  down  the  motuitaiii 
I  give  me  horn  a  hlow. 

You  ought  to  have  heard  those  pretty  httle  girls 
Say,  'Yonder  comes  my  heau.' 

Clionis: 

Oh.  wait  a  little  while,  hoy, 
We  will  all  go. 

Don't  you  know  that  old  shanghai 
Go  ook  00k  00k  00k  00k? 

2  One  cold  frosty  morning 
Barney  come  down  the  road. 
He  had  no  shoes  upon  his  feet ; 
The  frost  bit  ofif  his  toes. 

3  Over  the  river  tf)  feed  the  sheep. 
Over  the  river  to  Charlie. 

Over  the  river  to  feed  the  slieep, 
Feed  them  well  on  barley. 

4  I  won't  have  none  of  your  weevily  wheat, 
I  won't  have  none  of  your  barley ; 

T  must  have  some  of  the  best  of  wheat 
To  bake  a  cake  for  Charlie. 

5  Cliarlie  he's  a  nice  young  man. 
Charlie  he's  a  dandy ; 
Charlie  is  the  very  man 
That  1  would  ])ull  my  candy.* 


No    title.      Obtained    from    Miss    Jewell     R(ibl)iiis,     Pekin,     Montgomery 
county,  in   1922.     In  the   form  of  a  record,  on   which   Dr.   Brown  notes: 

^  This    line   is   evidently    corrupt,    l)ut    the    editor    will    not    venture   to 
correct  it. 


P  I.  A  V  -  1'  A  K  T  V      A  N  I)     I)  A  N  C  K     S  ()  N  C  S  lOI 

"Song  mack-  up  on  two  lovers,  Florence  Andrews  and  Charley  Braid- 
shire."  The  four-line  fragment  gives  no  clear  idea  of  what  the  story 
may  be,  but  it  evidently  uses  the  "weevily  wheat"  verse  and  rhyme. 

Florence  ran  tli rough  the  weevily  wheat, 
Florence  ran  through  the  barley ; 
Florence  fell  down  and  broke  her  neck 
And  .so  she  died  for  Charley. 


68 
Here  Comes  Three  Lawyers 

One  of  the  many  variants  of  the  singing  game  "Here  Come  Three 
Dukes  A-Riding,'  for  wliich  see  the  McLendon  finding  list,  SFLQ 
viii  209.  Reported  also  by  Davis  for  Virginia  (FSV  228-9)  and 
by  Randolph  for  Missouri  (OFS  iii  360-1).  The  riders  may  be 
three  knights,  three  kings,  three  brethren  otit  of  Spain,  or  still  other 
variants.  To  the  references  in  the  McLendon  list  should  be  added 
Massachusetts  (FSONE  13-15).  Tennessee  (  BTFLS  v  26-7),  and 
the  Czarks  (OFS  in  367-8).  ' 

'Here  Comes  Three  Lawyers,  Three  Lawyers  Are  We."  From  the  manu- 
script notebook  of  Mrs.  Harold  Glasscock  of  Raleigh,  lent  to  Dr.  White 
in  1943.  This,  like  other  items  in  Mrs.  Glasscock's  book,  was  learned 
from  her  parents.  A  note  in  tlie  book  explains  that,  in  "acting  it  out, 
Lawyer  carries  a  book,  merchants,  goods,  farmer,  corn.  Peddler  with 
pack  on  end  of  stick." 

1  'Here  conies  three  lawyers,  three  lawyers  we  are. 
A-courting  your  daughter  so  rare  and  so  fair. 
Can  we  get  lodgings  here,  oh  here, 

Can  we  get  lodgings  here  ?' 

2  'This  is  my  daughter  that  sets  by  my  side. 

And  none  of  you  lawyers  can  get  her  for  a  bride. 
You  cannot  get  lodgings  here,  oh  here, 
And  you  cannot  get  lodgings  here.' 

3  'We  care  nothing  for  your  daughter  and  less  for  yourself. 
I  betcha  hve  dollars  I  can  better  myself, 

And  we  do  not  want  lodgings  here,  oh  here, 
We  do  not  want  lodgings  here." 

Similarly  fur  merchants  and  farmers.  Last  come  the  peddlers  :  and  now 
the  response  is  : 

"This  is  my  daughter  that  sits  by  my  side. 
And  one  of  you  peddlers  can  get  her  for  a  bride  ; 
And  you  can  get  lodgings  here,  oh  here. 
And  you  can  get  lodgings  here.' 


102  NORTH     CAROLINA     FOLKLORE 

69 

Jennie  Jenkins 

A  color  song,  presumably  a  derivative  of  the  very  widely  known 
and  sung  'Miss  Jennia  Jones,'  for  which  see  the  McLendon  finding 
list  SFLQ  viii  216 — though  'Jennie  Jenkins'  is  not  there  listed  as 
a  title  nor  have  our  North  Carolina  texts  any  suggestion  of  a 
funeral  or  of  the  wearing  of  mourning.  A  'Jennie  Jenkins'  song 
has  been  reported  from  New  Hampshire  (F.SONE  199-200),  Ver- 
mont (VFSB  164-7).  N'irginia  (  OSC  129-30),  and  Missouri  (OF.S 
III  208). 


'Julie  Jenkins.'     Sung  by  Mrs.  Nancy  Prather  of  Sugar  Grove,  Watauga 
county,  in  August  1937. 

1  'Will  you  wear  red,  my  true  love? 
Will  you  wear  red,  Julie  Jenkins?' 

'I  won't  wear  red,  it's  the  color  of  niy  head  : 

Refrain: 

'So  I'll  buy  me  a  falli-ralli-dilly-dally 

Servi-jtiicy-douhle  binding- 

To  wear  with  a  robe,  Julie  Jenkins.' 

2  'Will  you  wear  white,  my  true  love? 
Will  you  wear  white,  Julie  Jenkins?' 

'I  won't  wear  white,  the  color  is  so  light.' 

3  'Will  you  wear  blue,  my  true  love? 
Will  you  wear  blue,  Julie  Jenkins?' 

'T  won't  wear  blue,  the  color  is  so  true.' 

4  'Will  you  wear  black,  my  true  love? 
Will  you  wear  black,  Julie  Jenkins?' 

'I  won't  wear  black,  it's  the  color  of  a  sack.' 

5  'Will  you  wear  brown,  my  true  love? 
Will  you  wear  brown,  Julie  Jenkins?' 

'I  won't  wear  brown,  it's  the  color  of  a  crown.' 

6  'Will  you  wear  yaller,  my  true  love? 
Will  you  wear  yaller,  Julie  Jenkins?' 

'1   won't  wear  yaller,  the  color  is  so  shaller.' 

7  "Will  you  wear  ])ur]:)le,  my  true  love? 
Will  you  wear  purple,  Julie  Jenkins?' 

'I  won't  wear  ])ur])le,  it's  the  color  of  a  tiu'kle.' 


'Jti'.nit.-    Jiiikiiis'      l\(.iHirtf(l    by    Thomas    Smith    of    Zionviilc,    Watauga 
county,  in  1921  as  sung  l)y  Ik'niictt   Sniitli  and  i^.  J.  Sniitli  of  that  place. 


P  L  A  Y  -  P  A  R  T  Y     A  N  D     DAN  C  K     S  O  N  (i  S  I03 

"They  hoard  it  first  sung  over  forty  years  ago  in  Caldwell  county. 
This  song,  they  say.  was  very  jxjpular  just  after  the  close  of  the  Civil 
War.  Tlic  Misses  Green  of  Caldwell  county  were  the  ones  who  sung 
the  song  to  Bennett  Smith  and  E.  J.  Smith  over  forty  years  ago."  Nine 
colors  are  proposed,  I)lue,  green,  red,  white,  yellow,  gray,  hlack.  hrown, 
and  spotted.  The  answers  correspond  often  to  those  of  A,  hut  the  re- 
frain is  not  just  the  same.     It  runs: 

I'll  buy  me  a  turly  whirly  double  lolly  sookey  juley 
Salley  katy  double  double  row  stick  a  beany 
WsLU  ter  ma  rose.  Jennie  Jenkins. 

The  answers  for  five  of  the  colors  are  different   from  those  of  A  : 

'I  won't  wear  green,  for  it  is  too  clean.' 

'I  won't  wear  gray,  for  it's  too  gay.' 

'I  won't  wear  black,  for  it  is  too  slack.' 

'I  won't  wear  brown,  for  it's  the  color  of  the  ground.' 

'I  won't  wear  spotted,  for  it  is  too  drotted.' 


'Jenny  Jenkins.'  Contributed  by  R.  D.  Ware  in  1921  from  Albemarle, 
Stanly  county.  Chorus  and  three  stanzas  dealing  with  red,  black,  and 
brown  as  in  A  except  that  brown,  as  in  B,  "is  the  color  of  the  ground." 


'Tooley  Wooley  Iser.'  From  the  manuscript  notebook  of  Mrs.  Harold 
Glasscock  of  Raleigh,  lent  to  Dr.  White  in  1943.  "Most  or  all  of  her 
songs  Mrs.  Glasscock  learned  from  her  parents." 

1  'Oh  will  you  wear  the  green,  oh  dear,  oh  dear. 
Oh  will  you  wear  the  green,  Jennie  Jenkins  ?' 

'I  won't  wear  the  green,  for  the  color  will  be  seen; 
So  buy  me  the  tooley  wooley  Iser.' 

Chorus: 

Buy  me   the  tooley   wooley  double   lucky   sucky  tucky 

ripe  grown  green  brandy  beer, 
Bend  your  hooks,  won't  you  wear  it.  Jennie  Jenkins? 

2  'Oh  will  you  wear  the  blue,  oh  dear,  oh  dear. 
Oh  will  you  wear  the  blue.  Jennie  Jenkins?' 
'I  won't  wear  the  blue,  for  the  color  isn't  true; 
So  buy  me  the  tooley  wooley  Iser.' 

3  'Oh  will  you  wear  the  gray,  oh  dear,  oh  dear. 
Oh  will  you  wear  the  gray.  Jennie  Jenkins?' 

'I  won't  wear  the  gray,  for  the  color  will  betray; 
So  buy  me  the  tooley  wooley  Iser.' 


104  ^'  '*  '<   '    "      *-'  '^  ^  "  '-  ^  '^'  ''^      FOLKLORE 


Oh.  Pretty  Polly 

Like  "Miss  Jennia  Jones'  this  is  a  color  song,  but  I  have  no  evi- 
dence that  it  is  a  play-party  or  game  song.  Indeed.  I  have  nowhere 
found  it  reported  as  traditional  song. 

'Oh.    Pretty    Polly.'      Contributed    in    1924    or    thereabouts    by    Carl    G. 
Knox,  Durham.     With  the  tune. 

1  Oh.  pretty  Polly,  don't  you  cry. 

Yotir  sweetheart's  a-comiiig  by-and-by. 
When  he  comes,  he'll  come  in  green ; 
Then  you  may  know  that  his  love  is  keen. 

2  Oh,  pretty  Polly,  don't  you  cry. 

Your  sweetheart's  a-coming  by-and-by. 
When  he  comes,  he'll  come  in  blue  ; 
Then  you  may  know  his  love  is  true. 

3  Oh,  pretty  Polly,  etc. 

When  he  comes,  he'll  come  in  yellow  ; 
Then  you  may  know  his  love  is  shallow\ 

4  (  )]i.  pretty  Polly,  etc. 

\\  hen  he  comes,  he'll  come  in  black  ; 
Then  you  may  know  he'll  turn  his  back. 

5  Oh,  pretty  Polly,  etc. 

W^hen  he  comes,  he'll  come  in  brown  ; 
Then  you  may  know  he'll  turn  you  down. 

6  Oh.  pretty  Polly,  etc. 

When  he  comes,  he'll  come  in  red  ; 
Then  you  may  know  his  love  is  dead. 

7  Oh.  pretty  Polly,  don't  you  cry. 

Your  sweetheart's  a-coming  by-and-by. 

71 
Don't  Cry 

It  is  not  clear  whether  this  is  a  play-party  song,  a  cliild's  singing 
game  of  colors  like  'Jennie  Jenkins,'  or  a  hillahy.  It  might,  of 
course,  serve  all  three  fiuictions.  It  is  evidently  a  variant  of  tlie 
preceding  song. 

'Don't    Cry.'      Secured    by    M.    (i.    b^ilton    df    Davidson    College    in    1914 
from   W.  C.   l-'ricrson.      I. (nation   not  <iivtii. 

I      Ddu't  cr\',  little  bab\'.  don't  you  cry. 
Your  sweetheart  will  come  by  and  by. 
When  he  comes,  if  he's  dressed  in  green. 
Then  voti  ma\-  know  you'll  be  his  (|ueen. 


P  LAV-  1'  A  K    r  N'      A  X  I)     1)  A  N  C  E     S  O  N  c;  S  IO5 

Don't  cry,  little  liaby.  don't  you  cry, 
^'otir  sweetheart  will  come  by  and  by. 
W  hen  he  conies,  if  he's  dressed  in  red, 
Then  you  may  know  his  love  is  dead. 

Don't  cry,  little  baby,  don't  you  cry. 
Your  sweetheart  will  come  by  and  by. 
\\  hen  he  conies,  if  he's  dressed  in  yellow, 
Then  you  may  know  he's  a  jolly  good  fellow. 

Don't  cry,  little  baby,  don't  you  cry, 
Your  sweetheart  will  come  by  and  by. 
When  he  comes,  if  he's  dressed  in  black, 
Then  you  may  know  he's  going  back. 

Don't  cry,  little  baby,  don't  vou  cry. 
Your  sweetheart  will  come  by  and  b}'. 
When  he  comes,  if  he's  dressed  in  blue. 
Then  you  may  know  his  love  is  true. 

Don't  cry,  little  baby,  don't  you  cry. 

Your  sweetheart  will  come  by  and  by. 

A\'hen  he  comes,  if  he's  dressed  in  purple. 

Then  you  may  know  you  will  make  a  nice  couple. 

Don't  cry,  little  baby,  don't  vou  cry. 
Your  sweetheart  will  come  by  and  by. 
\\  hen  he  comes,  if  he's  dressed  in  gray, 
Then  you  may  know  he's  going  away. 

Don't  cry.  little  baby,  don't  you  cry. 
Your  sweetheart  will  come  by  and  by. 
When  he  comes,  if  he's  dressed  in  brown. 
Then  you  may  know  he's  going  to  town. 


72 
Here  We  (lo  in  Mourning 

Possibly  this  lias  grown  out  of  those  forms  of  'Miss  Jeniiia  Jones' 
which  represent  a  death  and  a  funeral:  at  any  rate  it  is  clearly  a 
song-game  or  a  play-party  song. 

'Here  We  Go  in  Mourning.'  Obtained  by  Julian  P.  lioyd  from  Minnie 
Lee,  one  of  his  students  in  the  school  at  Alliance,  Pamlico  county,  in 
1927.     The  tliird  stanza  seems  to  be  imperfect. 

I      Here  we  go  in  mourning. 
In  mourning  is  my  cry. 
I  have  gone  and  lost  my  true  love. 
And  surely  1  must  die. 


I06  NORTH     CAROLINA     l-OLKLORE 

2  It's  yonder  lie  c(jmes. 
And  it's  How  do  you  do  ? 
And  it's  How  have  you  been 
Since  I  parted  from  you? 

3  Come  now  and  let's  go  and  get  married ; 
For  I  told  you  in  Georgia 

Just  how  the  love  would  be. 

73 
Row  THE  Boat,  Row  the  Boat 

This  is  the  play-party  song  which  Cox  (SFLQ  vi)  calls  'Uncle 
John'  and  Wolford  (The  Play-Party  in  Indiana  97)  calls  'Uncle 
Johnie's  Sick  A-Bed.'  It  is  really  a  form  of  the  old  singing  game 
'Wallflower,  Wallflower,  Growing  Up  So  High'  of  which  Lady 
Gomme  (11  324-42)  gives  thirty-five  English  texts.  With  the  curi- 
ous lines  constituting  the  second  half  of  the  second  stanza  of  our  A 
text,  it  is  or  has  been  known  in  Connecticut  (JAFL  xii  293),  Mis- 
souri (OFS  IV  123-5),  Ohio  (JAFL  xl  12),  and  Idaho  (JAFL 
XLiv  22)  ;  without  these  lines  but  with  the  opening  lines  of  the  next 
stanza  in  Michigan  (JAFL  xxxiii  132-3).  The  title  of  our  A  is 
echoed  in  Randolph's  Missouri  title  for  the  song,  'Ride  About,  Ride 
About.'  I  have  not  found  elsewhere  anything  nuich  resembling 
the  more  ballad-like  matter  of  our  B  te.xt. 

.\ 

'Row   the   Boat,    Row   the    Boat.'      Reported   hy    K.    P.   Lewis    from   the 
rendering  of  Dr.  Kemp  P.  Battle  of  Chapel  Hill  in  1910. 

1  Row  the  boat,  row  the  boat,  where  shall  we  land? 
At  Mr.  Jones',  and  there  we'll  find  land. 

Who  goes  there,  all  booted  and  spurred. 
But  little  Mr.  Smith,  a  clever  young  man? 

2  He  knocked  at  the  door  and  he  rang  at  the  bell 
And  asked  Mrs.  Jones  if  her  Annie  was  well. 
'She's  neither  within,  she's  neither  without, 
But  she's  upstairs  a-frisking  about.' 

3  Down  conies  Miss  Annie  as  white  as  milk 
Her  hands  before  her  sewing  of  silk. 

He  hugged  her  and  kissed  her  and  parried  her  nails 
And  gave  her  a  girdle  of  peacocks'  tails. 

4  Though  peacock  tails  be  ever  so  dear 
Miss  Annie  shall  have  one  once  a  vear. 


'Tommy    Jones."       Contrilmtcd     l)y     .Miss     (iirtrude'     .MUmi     (later     .Mrs. 
Vaught)    from  Taylorsville.  .Alexander  county,  in    1023. 


P  L  A  V  -  r  A  K  T  Y      A  X  1)     DANCE     SON  C.  S  10/ 

1  I've  been  woiuk-rini;  all  my  life 

Where  Toniiny  Jones  would  ,^et  him  a  wife. 

2  Up  to  Mr.  Smith's  house,  so  they  say. 
He  goes  courting  night  and  day. 

3  Carries  a  pistol  by  his  side. 
Wants  Miss  Mary  for  his  bride. 

4  Up  comes  Tommy  so  brave  and  l)old. 
Roses  in  his  coat  as  yellow  as  gold. 

5  'Say,  Mrs.  Smith,  can  you  say 
Wliere  Miss  Mary  is  today?" 

6  "She's  not  in  and  she's  not  out, 
She's  upstairs  flirting  about.' 

7  Down  comes  Mary  all  dressed  in  silk, 
Roses  in  her  hair  as  white  as  milk. 

8  Out  comes  Mrs.  Smith,  jug  in  her  hand  : 
'Say,  Tommy,  won't  you  have  a  little  dram?' 

9  'No,  I  thank  you  very  kind. 

Rather  have  Mary  than  any  of  your  wine.' 

10     Out  comes  Mr.  Smith,  club  in  his  hand: 
'Run,  Tommy,  run!    I'll  kill  you  if  I  can!' 


'I'm  Going  to .'  Published  by  John  A.  Loma.x  in  the  North  Caro- 
lina Booklet,  vol.  XI,  No.  I.  Clearly  a  fragment  of  the  same  song  in 
another  version. 

1  I'm  going  to ,  an'  that  will  be  the  place 

To  get  Miss  Laura,  if  God'll  give  me  grace 

2  Out  came  Miss  Laura  all  dressed  in  silk 
With  a  rose  in  her  hair  as  white  as  milk. 


74 
The  Needle's  Eye 

Our  collection  has  only  a  fragment  of  this  very  widely  known 
play-party  song;  more  properly,  a  singing  game.  See  the  McLendon 
finding  list,  SFLQ  viii  217.  To  the  references  there  given  should 
be  added  Maine  (FSONE  43-4)  and  the  Ozarks  (OFS  111  351-2). 
The  Archive  of  American  Folk  Song  has  records  of  it  from  Vir- 
ginia, Kentucky,  Mississippi,  and  Washington,  D.  C.  Mrs.  Steely 
found  it  in  the  Ebenezer  community  in  Wake  county. 


I08  X  ()  R  T  H      (■  A  K  0  I.  1  X  A      I"  ()  L  K  L  0  R  E 

'Needle's  Eye.'  Contributed,  words  and  music,  in  1922  Ijy  J.  T.  C. 
Wright  of  Boone,  Watauga  county.  The  missing  second  Hue  slT.mld  be 
'The  thread  that  runs  so  true." 

Needle's  eye  did  supply 

(line  missing) 
Many  a  beau  have  I  let  go 
For  the  sake  of  kissing  vou. 


The  Miller  Bov 

This  is  perliaps  the  oldest  and  most  widely  known  of  the  play- 
party  songs.  For  English  texts  see  Lady  Gonime's  Traditional 
Songs  I  289-93  and  Northall's  English  Folk-Rhymes  366.  and  for 
references  to  American  texts  Botkin's  The  American  Play-Party 
Song  247-52  and  the  ]\IcLendon  finding  list  in  SFLQ  viii  209, 
adding  Virginia  (FSV  22/)  and  the  Ozarks  (OFS  iii  293-5).  It 
is  represented  in  our  collection  only  by  the  opening  stanza. 

A 

'The  Miller  Boy.'  Reported  by  Thomas  Smith  of  Zionville,  Watauga 
county,  as  obtained  from  Miss  Mae  Smith. 

Oh.  the  miller  boy  that  tends  to  the  mill 

He  takes  the  toll  with  his  own  free  will. 

( )ne  hand  in  the  hopper  and  the  other  in  the  sack — 

The  ladies  step  forward  and  the  gents  fall  back. 

B 
'Miller  Boy.'     From  Ethel  Brown,  Catawba  county. 

Hapi)y  is  the  miller  that  lives  by  the  mill. 
The  mill  ttirns  around  and  gains  what  it  will. 
Hands  in  the  hopper  and  hands  in  the  sack — 
Ladies  step  forward  and  the  gents  step  back. 

c 

'Little  Johnny  .Miller."  A  manuscript  in  Dr.  Brown's  hand,  with  the 
query  'G.  S.  Black?'  Tiiis  is  repeated  in  another  hand  with  the  manu- 
scrij)!  (if  tile  music. 

Little  Johnnie  Milk-r  he  worked  at  the  mill. 
He  worked  all  day,  no  matter  what  you  will. 
With  a  hand  in  the  hopper  and  the  other  in  the  sack. 
The  ladies  keep  a-going  while  the  gents  turn  back. 

76 

In  and  (  )ut  the  \\'inim)w 

An  old  favorite  for  play-parties.  For  Kngli.sh  texts  see  Lady 
("lonnue's  Traditional  Songs  11  122-43  and  for  its  vogue  in  America 
tlu'  .McLcndon  tinding  list,  S1""LQ  \-iii  207;  and  add  X'irginia  (FSV 


P  I.  A  Y  -  I'  A  R  T  V      A  N  I)     I)  A  N  C  K     S  O  N  C.  S  IO9 

22S)  and  tlic  Ozarks  (01*\S  iii  313-14,  336-8).  It  is  also  known  as 
"Marchins:  round  the  Levee'  (for  earlier  "Marchins:  round  the  Val- 
ley'). It  appears  hut  once  in  our  collection.  Mrs.  Steely  found  it 
in  the  Mhenezer  coniniunity  in  Wake  county. 

"Marching  round  the  Love-Ring.'  Reported  l)y  Dr.  Rrown  as  "played  hy 
grown   girls   and  boys   in    Buncombe,    Madison,   and    Haywood   counties." 

1  ( '.(>  in  and  out  the  window, 
Chj  in  and  out  the  window, 
Go  in  and  out  the  window, 
.Since  you  have  gained  the  day. 

Chorus: 

We're  marching  round  the  love-ring, 
We're  marching  round  the  love-ring. 
We're  marching  round  the  love-ring, 
.Since  we  have  gained  the  day. 

2  Step  forth  and  face  your  lover, 
Step  forth  and  face  your  lover. 
Step  forth  and  face  your  lover, 
Since  yoti  have  gained  the  day. 

3  I'll  measure  my  love  to  show  you, 
I'll  measure  my  love  to  show  you, 
I'll  measure  my  love  to  show  you, 
Since  you  have  gained  the  day. 

4  I'll  kneel  because  I  love  you, 
I'll  kneel  because  I  love  you, 
I'll  kneel  becatise  I  love  you. 
Since  you  have  gained  the  day. 

5  (  )ne  kiss  before  I  leave  you. 
One  kiss  before  I  leave  vou. 
One  kiss  before  I  leave  you, 
Since  you  have  gained  the  day. 

77 
Shoot  the  Buffalo 

This  is  a  fraf,nnent  of  the  sinj^ing  game  or  play-party  song  so 
called,  which  in  temper  reaches  back  to  early  pioneer  days.  .See 
Botkin.  The  American  Play-Party  Song  308-12.  and  the  McLendon 
finding  list,  SFLQ  viii  223-4.  Randolph  reports  it  from  the  Ozarks 
(OFS  III  306-9). 

'Ohio.'  Contributed  by  Jesse  T.  Carpenter  of  Durham  with  the  note : 
"I  think  this  is  a  song  game.  It  was  sung  before  the  Civil  War  in  the 
neighborhood  around  McMannen's  Chapel." 


1  10  NORTH     C  A  R  0  L  I  N  A     F  0  I.  K  L  O  R  K 

O  my  dearest  clear,  1  will  take  you  by  the  hand 

And  I'll  lead  you  to  the  far  off  country 

Where  there's  a  better  and  fairer  land ; 

Where  the  girls  can  knit  and  sew. 

Where  the  boys  can  plow  and  mow, 

And  I'll  settle  you  on  the  banks  of  that  river  Ohio. 

78 
Coffee  Grows  on  White  Oak  Trees 

A  favorite  play-party  song  pretty  much  everywhere  that  play- 
parties  are — or  have  been — in  vogue  is  made  up  of  three  elements: 
a  stanza  beginning  with  the  line  liere  chosen  as  title,  another  begin- 
ning "pretty  little  pink"  (sometimes  '"my  blue-eyed  gal")  and  an- 
other beginning  "I'll  put  my  knapsack  on  my  back."  It  goes  back 
to  the  Mexican  War.  As  Sandburg  remarks  ( ASb  166)  :  "a  dance 
song  known  in  Kentucky,  Indiana,  and  Illinois  became  a  knapsack 
and  marching  tune  with  Mexican  War  references."  For  its  range 
see  the  McLendon  finding  list,  SFLQ  viii  204  and  221,  and  add  to 
the  references  there  given  \'irginia  (FSV  219-20)  and  the  Ozarks 
(OFS  III  296-7,  309,  311).  Sometimes  only  two  of  the  elements 
appear,  and  sometimes  only  one.  Sometimes  New  Orleans  or 
Quebec  appears  in  place  of  Mexico,  carrying  the  reference  back  to 
the  War  of  181 2. 


'Daisy.'      Communicated   by    Mildred   Peterson   of    Bladen   county,   prob- 
ably in  1923. 

1  Coffee  grows  in  the  white  oak  tree, 
The  rivers  run  with  brandy. 

My  little  gal  is  a  blue-eyed  gal 
As  sweet  as  any  candy. 

2  Fly  around,  my  blue-eyed  gal. 
So  fly  around,  my  daisy  ; 
Every  time  I  see  that  gal 

She  almost  runs  me  crazy. 


'Song.'     Communicated  In'   LuciUe   Cheek  from   Cliatham  county   in    1923 
or  tliereabouts. 

I      The  sui^ar  grows  on  a  white  oak  tree, 
The  river  flows  with  brandy, 
The  little  girls  in  Mexico 
Are  sweet  as  sugar  candy. 
All  night  long,  all  night  long. 


V  L  A  V  -  l"  A  R  T  V     A  X  1)     I)  A  N  C  E     SON  C.  S 

2     The  rooster  spreads  his  tail  and  crows, 
The  jayhird  spreads  his  tail ; 
The  whippoorwill  ain't  got  no  tail. 
But  you  ought  to  hear  him  sing 
All  night  long,  all  night  long. 

c 
'Pretty  Little  Pink."     Reported  by  Ruth   Morgan  from   Stanly  county, 

1  Pretty  little  pink,  I  used  to  think 
That  you  and  I  would  marry. 

But  now  I've  lost  all  hopes  of  that, 
So  farewell,  my  darling. 

2  I'll  throw  my  knapsack  on  my  hack. 
My  rifle  on  my  shoulder. 

And  march  away  to  Mexico 
To  live  to  be  a  soldier. 

3  Where  the  coffee  grows  on  the  white  oak  trees 
And  the  rivers  flow  with  brandy 

And  the  street  all  lined  with  five  dollar  [bills] ^ 
And  the  girls  as  sweet  as  candy — 
And  the  boys  as  sour  as  vinegar. 


'My  Darling  Little  Pink.'  Contributed  by  J.  B.  Midgett  of  Wanchese. 
Roanoke  Island,  probably  in  1920.     With  the  tune. 

1  My  darling  little  Pink.  I  once  did  think 
That  you  and  I  would  marry  ; 

But  now  I've  lost  all  hope  of  love, 
So  I  can  no  longer  tarry. 

2  I'll  take  my  knapsack  on  my  back, 
My  gun  upon  my  shoulder. 

And  march  away  to  New  Orleans 
To  view  a  pleasant  country. 

3  Where  money  grows  on  white  oak  trees. 
The  rivers  flow  with  brandy. 

The  streets  are  paved  with  radiant  gold. 
And  the  girls  are  sweet  as  candy. 

E 

Tretty  Little  Pink.'  From  Clara  Hearne,  student  at  Duke  University 
in  1923;  a  version  probably  from  Chatliam  county.  Like  the  preceding 
except  that  it  has  "Mexico"  instead  of  "New  Orleans"  and  the  last 
two  lines  are 

'  Omitted  in  the  manuscript,  doubtless  by  accident. 


112  X  O  R  T  II     CAROLINA     FOLKLORE 

Where  the  boys  are  like  a  lump  of  gold, 
And  girls  are  sweet  as  candy. 

F 

"Song."     Contriljuted  by  Cozette  Coble — probably  from  Stanly  county. 

1  I  take  my  knapsack  on  my  back. 
]\Iy  rifle  on  my  shotilder. 
March  away  to  Mexico 
Where  for  and  yank  a  soldier.^ 

2  Where  the  coffee  grows  on  the  white  oak  trees 
And  the  river  is  float  brandy,^ 

Streets  are  lined  with  ten  dollar  bills, 
And  the  girls  are  sweet  as  candy. 

G 

'I'll  Put  My  Knapsack  on  My  Back.'  Contributed  in  1914  or  there- 
abouts by  Thomas  Smith  of  Zionville,  Watauga  county,  with  the  nota- 
tion :  "The  above  song  sung  lately  by  Polly  Rayfield,  also  by  Bennett 
Smith.     They  heard  it  over  fifty  years  ago." 

1  I'll  put  my  knapsack  on  my  back. 
My  rifle  on  my  shoulder, 

And  march  down  to  New  Orleans 
Just  to  be  a  soldier. 

2  Where  coffee  grows  on  white  oak  trees 
And  rivers  flow  with  brandy. 

And  ladies'  hearts  are  lined  with  gold 
And  lips  as  sweet  as  candy. 


No  title.      Contributed   by   V.   C.   Royster   in    1914    from    Wake   county, 
with  the  notation  that  it  goes  back  to  times  before  the  Civil  War. 

I'll  take  my  knapsack  on  my  back. 
My  rifle  on  my  shoulder, 
And  march  away  to  old  Quebec 
There  for  to  be  a  soldier. 

I 
No  title.     From  Thomas   Smith  of   Zionville,  Watauga  county,   in   1915. 
The  same  as  H  except  that  it  has  "New  Orleans"  for  "old  Queliec." 

79 
Little  Fkhit  in  Mkxico 

This  memory  of  the  Mexican   W  ar  of  a  liundn-d  years  a.^o  has 
retained  its  place  as  a  play-i>arty  sonj^  pretty  well  in  the  .South  and 

^  The  first  of  these  lines  should  perhaps  read  "There  for  to  be  a  Yankee 
soldier";  the  second  can  be  understood  by  reference  to  preceding  te.xts. 


V  LAY-  r  A  U  T  Y      A  \  I)     I)  A  N  C  K     S  C)  N  (1  S  I  I3 

West;  see  the  McLemlon  tinding  list,  SFLQ  viii  214.  Davis  re- 
ports it  also  from  Virginia  (FSV  220 J  and  Randolph  from  the 
Ozarks  (OFS  111  357-9).  Our  text,  like  that  remembered  by  Hud- 
son from  his  boyhood  in  INIississippi  (FSM  289;,  reverses  the  atti- 
tudes of  the  girl's  and  the  boys  in  the  presence  of  danger. 

'Me.xican  War.'  Reported  by  Merle  Smitli  from  Stanly  county.  Not 
dated. 

There  was  a  war  in  Mexico 

And  all  the  boys  and  girls  they  had  to  go. 

Btit  when  they  got  to  the  place  where  the  blood  was  shed 

The  boys  turned  back  and  the  gals  went  ahead. 

Sing  fol  dol  da,  sing  fol  dol  da. 


80 

Pig  in  the  Parlor 

One  of  the  most  generally  known  of  the  play-party  songs.  See 
the  McLendon  finding  list,  SFLQ  viii  220,  and  add  Randolph,  OFS 
III  305-6.     Our  North  Carolina  texts  are  fragmentary. 

A 
No  title.     Communicated  by  Jessie  Hauser  from  Forsyth  county. 

1  My  father  and  mother  were  Irish. 
My  father  and  mother  were  Irish, 
My  father  and  mother  were  Irish, 
And  I  am  Irish  too. 

2  We  put  the  i)ig  in  the  parUn-. 
We  put  the  pig  in  the  parlor, 
We  put  the  pig  in  the  parlor, 
And  it  is  Irish  too. 

B 
'My  Father  and  Mother  Were   Irisli.'     From   Mildred   Peterson.   Bladen 
county.     The  same  as  A  except  that  the  second  stanza  has 

We  keep  a  pig  in  the  kitchen. 


'We   Have  a   New   Pig   in   the   Parlor."      From   J.   C.   Knox,    Brunswick 
county,  with  the  tune.     Only  two  lines,  each  repeated  three  times  : 

W^e  have  a  new  pig  in  the  parlor 

and 
And  he  is  Irish  too. 

X.C.F.,  Vi.i.  III.  rio) 


1 14  NORTH  CAROLINA  FOLKLORE 

8i 

Buffalo  Gals 

S.  Foster  Damon  (Scries  of  Old  American  Songs  No.  39) 
points  out  that  the  original  form  of  this  is  the  minstrel  song  'Lubly 
Fan,'  the  work  of  Cool  White  (real  name  John  Hodges),  copy- 
righted in  1844.  From  this  grew  'Bowery  Gals,'  which  was  in 
Christy's  repertory.  The  finally  successful  form  of  it,  "Buffalo 
Gals,'  was  copyrighted  (without  indication  of  author  or  composer) 
in  1848,  and  spread  all  over  the  country,  becoming  a  favorite  play- 
party  song.  See  Botkin,  The  American  Play-Party  Song  150-4  and 
the  McLendon  finding  list,  SFLQ  viii  203.  Davis  reports  it  also 
from  X'irginia  (FSV  243 )  and  Randolph  from  the  Ozarks  (OFS  iii 
332-4).  Perhaps  it  was  suggested  by  an  old  English  singing  game, 
'Pray,  Pretty  Miss,'  known  in  Scotland,  Yorkshire,  Sussex,  and 
Cornwall  (Gomme  11  65-7),  an  invitation  to  dance  that  has  a  like 
catchy  rhythm.     Any  place-name  may  be  substituted  for  Buffalo. 


'Won't  You  Walk  Out  Tonight."  Contributed  some  time  in  the  years 
1921-24  by  Miss  Jewell  Robbins  of  Pekin,  Montgomery  ccninty.  With 
the  tune. 

1  Oh,  Buffalo  gals,  won't  you  walk  out  tonight. 

Won't  you  walk  out  tonight,  won't  you  walk  out  tonight  ? 
Oh,  Buffalo  gals,  won't  you  walk  out  tonight 
And  dance  In-  the  light  of  the  luoon? 

2  I  kept  a-dancin"  and  my  heels  kept  a-rockin', 
My  heels  kept  a-rockin',  my  heels  kept  a-rockin', 
I  kept  a-dancin'  and  my  heels  kept  a-rockin' 
Till  I  danced  around  the  big  round  moon. 

B 

'Round  Town  Girls.'  Reported  by  Thomas  Smith  of  Zionville,  Watauga 
county,  in  1915,  with  the  notation:  "This  was  a  favorite  tune  of  Ranzo 
Miller  the  fife  player.  I  recall  hearing  him  play  it  on  a  fife  for  a  sch(X)l 
entertainment  over  twenty  years  ago." 

Round  Town  girls,  won't  you  come  out  tonight, 

Won't  you  come  out  tonight,  won't  you  come  out  tonight 

And  dance  by  the  light  of  the  moon  ? 

82 
(  )ld  Dan  Tucker 

This  song  of  Dan  Ennnett's,  like  some  of  Stephen  Foster's,  has 
become  indubitable  American  folk  song.  Perhaps  because  of  its 
rousing  chorus,  it  is  a  favorite  play-party  song:  the  McLendon 
finding  list  (SFLQ  viii  218-19)  has  as  many  entries  for  it  as  for 
'Weevily  Wheat.'     Davis   reports  it  also   for   X'irginia    (FSV   154) 


I'  I.  A  \-  -  r  A  R  T  Y      A  N  I)     D  A  N  C  IC     S  O  N  G  S  1 1 5 

and  KaiKlolph  fur  tlie  Ozarks  (OFS  in  301-4)-  Although  none 
of  our  North  Carohna  texts  is  so  marked,  it  is  prohahle  that  most 
of  them  are  play-party  or  dance  memories.  It  has  even  crept  into 
the  tradition  of'  the  Thames  valley  (FSUT  142-3)-  And  it  has 
accumulated  a  wide  variety  of  stanzas  in  its  course  as  traditional 
song.  Indeed,  our  thirty-odd  North  Carolina  texts  show  hardly  a 
trace,  beyond  the  chorus,  of  the  original  Emmett  text  (Damon, 
Scries  of  Old  American  Songs  No.  2)7 >  fi'0"i  a  print  of  1843  i"  the 
Harris  Collection  at  Brown  University),  nor  nmch  more  of  the 
fuller  text  which  White  (ANFS  446-7)  reprints  from  Marsh's 
Selection}  And  texts  reported  from  other  regions  show  variations 
not  found  in  the  North  Carolina  texts.  Some  stanzas  appear  in  pretty 
much  all  the  texts  recorded  from  tradition:  others  occur  less  often, 
though  not,  apparently,  with  any  regional  significance.  Since  all 
our  texts,  if  they  exceed  two  stanzas  (very  many  of  them  consist 
of  a  single  stanza),  are  a  medley,  they  are  presented  here  stanza  by 
stanza  with  notation  of  their  occurrence  elsewhere. 

A 
'Ole  Dan  Tucker.'     Reported  bv  K.  P.  Lewis  as  obtained  in   1910  from 
Dr.  Kemp  P.  Battle  of  Chapel  Hill. 

I      Old  Dan  Tucker,  he  got  drunk. 

He  fell  in  the  fire  and  kicked  up  a  chunk. 

A  coal  of  fire  got  in  his  shoe. 

And  l)less  my  soul,  honey,  how  the  ashes  flew '.- 

Chorus: 

Get  out  the  way,  old  Dan  Tucker, 
Get  out  the  way,  old  Dan  Tucker, 
Get  out  the  way,  old  Dan  Tucker, 
You're  too  late  to  get  your  supper.'^ 

'The  Lomaxes,  ABFS  261-2,  print  still  another  text  as  the  original 
Emmett  version,  but  do  not  say  where  they  found  it. 

"  This  is  one  of  the  persistent  stanzas ;  not  in  Damon's  or  Marsh's  text, 
Init  reported  from  Kentucky  (BKH  163,  JAFL  xl  97),  Tennessee 
(ETWV^JB  140,  BTFLS  v  31),  North  Carolina  (ABFS  258),  South 
Carolina  (JAFL  xliv  427,  Negroes),  Oklahoma  ( Botkin  APPS  253), 
the  Ozarks  (OASPS  151.  JAFL  xlu  210),  Missouri  (JAFL  xxiv  309), 
Indiana  ( BSl  340),  and  Nebraska  (JAFL  xxviii  284).  It  is  also  in 
the  versions  given  in  Trifet's  Budget  of  Music  and  in  Ford's  Traditiunal 
Music  of  Avicrica.  And  in  our  collection  it  is  reported  by  T.  J.  Gill, 
Jr.,  from  Durham;  Miss  Amy  Henderson  from  Burke  county;  Miss 
Minnie  Brvan  Farrior  from  Duplin  county:  Miss  Katherine  Bernard 
Jones,  and 'Miss  Dorothy  McDowell  Vann,  from  Raleigli ;  Miss  Mildred 
Peterson,  from  Bladen  county ;  Mrs.  W.  L.  Pridgen,  from  Durham  ;  and 
Miss  Irene  Thompson,  from  Surry  county.  There  are  slight  variations 
in  the  wording  of  some  of  these. 

"  The  chorus  shows  little  variation— none  in  our  texts,  but  in  Ken- 
tucky (BKH  163),  Tennessee  (BTFLS  v  30),  Texas  (Owens  39 K  the 
Ozarks  (JAFL  lu  210),  Ohio  (JAFL  xl  23),  Indiana  (Wolford  78). 
and  Nebraska  (JAFL  xxvni  284),  and  in  the  Lomaxes'  version  of 
Emmett's  text  the  last  two  lines  sometimes  run  : 


I  l6  NORTH  CAROLINA  FOLKLORE 

2  A  bullfrog  jumped  froui  the  bottom  of  the  well, 
He  jumped  so  high  I  could  not  tell. 

I  tied  him  fast  to  a  hickory  stump. 

And   he   reared   and   he   pitched,    but    he   couldn't   get   a 
hump.^ 

3  Some  folks  say  that  a  nigger  won't  steal. 
But  I  caught  one  in  my  cornfield ; 

I  tied  him  fast  to  a  knotty  pine 

And  gave  him  with  a  horsewhip  thirty-ninc.- 

4  There  was  a  man  in  Chapel  Hill  town 
W  ho  carried  a  load  of  molasses  down  ; 
The  "lasses  worked,  and  the  hoops  did  bust 
And  sent  him  home  in  thundergust.'^ 

B 

'Old   Dan   Tucker.'     Obtained   in    1927   by   Julian    P.    Boyd   from    Minnie 
Lee,  one  of  his  pupils  in  the  school  at  Alliance,  Pamlico  county. 

1  Old  Dan  Tucker  was  a  grand  old  sinner. 

He  never  said  grace  till  he  went  to  his  dinner. 
Then  he  hung  his  head,  and  laughed,  and  said: 
'Lord  Jesus  Christ,  what  a  big  pone  of  bread  \'^ 

2  Old  Dan  Tucker  clam  a  tree 
His  Lord  and  Saviour  for  to  see. 
The  limb  did  break  and  he  did  fall ; 
He  never  saw  his  Lord  at  all !"' 

3  0\(\  Dan  Tucker  saw  a  hole  in  a  hollow  tree 
And  run  [his]  bill  in  there  to  see. 

A  snake  slipped  down  and  caught  him  by  the  bill; 
Says  "Please,  good  Lord,  do  keep  him  still !'" 


Supper's  over  and  breakfast's  a-cookin' 
And  old  Dan  Tucker's  standin'  and  lookin' 

or  the  like. 

^  This  stanza  is  reminiscent  of  'The  Frog  in  the  Well.'  I  have  not 
found  it  elsewhere  associated  with  'Old  Dan  Tucker.' 

"  This  stanza  from  'Some  Folks  Say  that  a  Nigger  Won't  Steal' — sec 
p.  508 — is  nowhere  else,  so  far  as  I  can  find,  associated  with  "Old  Dan 
Tucker." 

■'This  stanza,  clearly  a  local  adaptation  of  "I.ynchlnirg  Town,'  is  not 
elsewhere  brought  into  our  song. 

*  The  first  half  of  this  stanza  is  in  Trifet's  text,  and  the  whole  of  it 
constitutes  an  anonymous  text  in  our  collection;  otherwise  I  have  not 
found  it. 

■"' This  occurs  as  a  stanza  of  "Old  Dan  Tucker'  in  Kentucky  (J.AFL  xl 
96),  North  Carolina  (ABFS  260).  Oklahoma  (Botkin  APPS  263),  and 
Indiana  (BSI  349)  ;  not  elsewhere,  so  far  as  I  can  find. 

"  This  is  one  of  the   few  bits  of  the  original  song  that  appear  in  our 


P  L  A  Y  -  P  A  K  T  Y      A  N  D     1)  A  N  C  K     S  0  N  G  S  I IJ 

c 

'Old  Dan  Tucker.'     Contributed  by  Katherine  Bernard  Junes  of  Raleigh. 
Not  dated. 

1  Old  Dan  Tiicker  was  a  tine  old  fellow 

Hut  he  would  play  cards  with  the  ueLjroes  in  the  cellar.^ 

2  1  went  over  heeple  steeple. 
There  I  saw  a  good  many  people ; 
Soiue  were  white,  some  were  hlack, 

And  some  were  the  color  of  an  old  chaw  tobacco. - 

3  (  )ld  1  )an  Tucker  he  got  drunk  ; 

Fell  in  the  hre  and  kicked  up  a  chunk. 

Coal  of  fire  got  in  his  shoe ; 

Ha,  ha,  ha.  how  his  coat-tail  flew!'* 

D 

No  title.     From  Miss  Dorothy  McDowell  \'ann,  Raleigh. 

1  Old  Dan  Tucker  was  a  mean  old  man, 
Washed  his  face  in  the  frying  pan, 
Coiuljed  his  hair  with  a  wagon  wheel, 
Died  with  the  toothache  in  his  heel. 

2  Old  Dan  Tucker  he  got  drunk, 

Fell  in  the  fire  and  kicked  up  a  chunk ; 

A  red-hot  coal  got  in  his  boot, 

And  old  Dan  Tucker  went  toot,  toot,  toot.^ 


collection.  It  is  a  corruption  of  the  fourth  stanza  of  tlie  song  in  the 
original  text  and  the  seventh  stanza  of  Marsh's  text  as  reprinted  by 
White.     None  of  the  other  texts  found  has  it. 

^  This  appears  as  stanza  2  of  the  Negro  song  'Captain  Dime'  (Talley 
5),  in  a  Kentucky  text  (JAFL  xl  97),  and  as  part  of  a  stanza  in  our 
collection  contributed  by  Esther  Royster  from  Vance  county  ;  not  found 
elsewhere. 

-  Another  remnant  of  the  earlier  form  of  the  song.  It  is  not  in  Em- 
mett's  text  as  given  by  Damon  but  it  is  the  sixth  stanza  of  Marsh's  text 
as  given  by  White  (ANFS  447) — where,  however,  the  rhyme  is  better: 
Some  was  black,  an  some  was  blacker. 
Some  was  de  color  ob  brown  tobacur. 
It  is  really  a  riddle  and  not  properly  a  part  of  'Old  Dan  Tucker.'  It 
has  been  reported  from  Ontario  (JAFL  xxxi  43),  Kentucky  (JAFL 
XXVI  152),  North  Carolina  (JAFL  xxx  202),  and  Indiana  (Wolford 
78 — the  last  two  lines  only). 

^  Already  noted  under  A. 

"  For  the  second  stanza  see  under  A,  above.  Tlie  first  stanza  is  prob- 
ably the  most  widely  known  of  all,  especially  at  play-parties.  There  is 
nothing  of  the  sort  in  Emmett's  text  as  given  t)y  Danujn  ( thougli  it  is 
in  what  the  Lomaxes,  ABFS  262,  give  as  Emmett's  form  of  the  song) 
or  in  Marsh's  or  Trifet's;  but  it  appears  in  Ford's  Midwest  version  and 
in  reports  from  Ontario  (JAFL  xxxi  61,  152),  Kentucky  (BKH  163. 
JAFL    XL   97),    Tennessee    (JAFL    xxvni    132,    BTFLS    v    30),    North 


Il8  NORTH  CAROLINA  FOLKLORE 

E 

No  title.     Contributed  by  Louise  Bennett,  Middleburg,  Vance  county. 

Old  Dan  Tucker  singing  for  his  supper. 
What  shall  he  eat  ?    Cold  bread  and  meat. 
How  shall  he  eat  it  without  a  knife  ? 
How  shall  he  marry  without  a  wife?^ 


'Old   Dan   Tucker.'     Obtained   by   Dr.   J.    F.   Royster    from   William    C. 
Daubken  of  the  class  of  IQ15  at  the  University  of  North  Carolina. 

1  Old  Dan  Tucker  he  got  drunk. 

Fell  in  the  fire  and  kicked  out  a  chunk ; 
Combed  his  hair  with  a  wagon  wheel. 
Died  with  the  toothache  in  his  heel. 

Refrain: 

O  run,  nigger,  run,  the  patteroller  ketch  ye, 
Run.  nigger,  rim.  it's  almost  day. 

2  Old  Dan  Tucker  an'  er  Henry  Clay 
They  went  to  ride  in  a  one-horse  shay ; 
Shay  it  broke  an'  they  fell  through. 
Old  Dan  Tucker  an'  er  Henry  Clay. 

83 

Yonder  Comes  a  Georgia  Girl 

This  belongs  to  the  general  type  of  love  songs  represented  by 
'Knights  of  Spain,'  'Here  Comes  a  Duke,'  etc.  in  Newell's  Games 
and  Songs  of  American  Cliildren,  but  it  is  not  in  Newell  or  Botkin 
or  the  McLendon  finding  list.  It  is,  however,  reported  as  a  play- 
party  song  from  Virginia  by  Davis  (FSV  228). 


Carolina  (ANFS  161,  Negroes),  Texas  (Owens  40),  the  Ozarks 
(OASPS  151,  JAFL  XLH  210).  Missouri  (JAFL  xxiv  310).  bidiana 
(Wolford  78,  BSI  340,  341),  Illinois  (JAFL  xxxn  489),  Michigan 
(JAFL  xxxni  116),  Nebraska  (JAFL  xxv  273.  xxvni  384),  and  Idaho 
(JAFL  XLiv  16).  And  it  appears  sixteen  times  in  our  collection,  fre- 
quently as  the  only  stanza  remembered,  in  contritnitions  from  Gertrude 
Allen  (Mrs.  Vaught),  Oakboro,  Stanly  county;  Antoinette  Beasley, 
Monroe,  Union  county ;  Caroline  Biggers,  Union  county ;  Lucille  Cheek, 
Chatham  county;  J.  T.  Gill.  Jr.,  Durham;  Minnie  S.  Gosney,  Raleigh; 
Amy  Henderson,  Worry,  Burke  county ;  Lois  Johnson,  Davidson  county ; 
Flossie  Marshl)anks,  Mars  Hill,  Madison  county;  Lida  Page,  Durham 
county;  Mrs.  W.  H.  Pridgen,  Durliam  ;  Esther  Royster,  Vance  county; 
Irene  Thompson,  Surry  county ;  Louise  F.  Watkins,  Goldsboro,  Wayne 
county ;  Sarah  K.  Watkins,  reporting  from  Anson  and  Stanly  counties. 
^  This  stanza,  evidently  a  reminiscence  of  'Little  Tommy  Tucker,' 
appears  in  connection  with  our  song,  so  far  as  I  have  found,  only  in 
Botkin's  Oklahoma  texts  (Botkin  262). 


P  L  A  Y  -  P  A  R  T  Y     A  N  1)     I)  A  N  C  K     S  O  N  G  S  1 19 

'Yonder  Comes  a  Georgia  Girl.'  Contributed  by  Mrs.  Peggy  Perry  of 
Silverstone,  Watauga  county,  in  1915,  witli  tlie  notation:  "Heard  as  a 
play-song  over  sixty  years  ago." 

1  Yonder  comes  a  (k'()r<;ia  i^irl. 
Don't  she  look  funny  ? 
She's  got  on  a  roundabout 
Without  a  cent  of  money. 

2  Once  I  could  have  married  you. 
Once  I  could,  my  honey. 

\\'hen  you  wore  your  roundabout 
With  a  pocket  full  of  money. 


84 
Captain  Jinks 

This  seenis  {Weep  Some  More,  My  Lady  47)  to  have  got  its  start 
from  the  singing  of  William  Lingard,  apparently  in  the  seventies. 
There  was  a  play  of  the  same  name.  The  song  was  sung  all  over 
the  country  and  became  a  play-party  song;  see  the  McLendon  find- 
ing list,  SFLQ  VIII  203 :  and  MAFLS  xxix  23-4,  30.  Our  col- 
lection has  one  stanza  and  chorus  from  Miss  Florence  Holton  of 
Durham,  and  a  fragment  reported  by  T.  J.  Gill,  Jr. 

I'm  Captain  Jinks  of  the  Horse  Marines, 
I  feed  my  horse  on  corn  and  beans 
And  sport  young  ladies  in  their  teens 
Though  a  captain  in  the  army. 
I  teach  young  ladies  how  to  dance. 
How  to  dance,  how  to  dance, 
I  teach  young  ladies  how  to  dance, 
For  I'm  the  pet  of  the  army. 

Chorus: 

Captain  jinks  of  the  Horse  Marines. 
I  feed  my  horse  on  corn  and  beans. 
And  often  live  beyond  my  means. 
Though  I'm  a  captain  in  the  arm\-. 

85 
Hop  Light.  Ladies 

Perrow  (JAFL  xxviii  184)  found  this  sung  by  country  whites 
in  Virginia  and  Mississippi,  not  more  than  two  couplets  in  either 
place.  Davis  reports  it  from  Virginia  (FSV  249)  and  Randolph 
(OFS  II  323)  as  part  of  a  text  of  'Jump  Jim  Crow'  in  Missouri. 


1 20  NORTH  CAROLINA  FOLKLORE 

A 

'Hop  Light,   Ladies."     From    Aliss   Jewell  Robbins,    Pekin.    Montgomery 
county,  in  1922. 

Hop  light,  ladies,  yo'  cake's  all  dough. 

Hop  light,  ladies,  yo'  cake's  all  dough. 
Hop  light,  ladies,  yo'  cake's  all  dough. 

You  needn't  mind  the  weather  so  the  wind  don't  hlow. 


No  title.     From  Miss  Louise  Bennett.  Vance  county. 

Walk  light,  ladies,  de  cake's  all  do', 

Neber  min'  de  weder  so  de  wind  don't  blow. 


86 
Old  Joe  Clark 

Essentially  this  is  a  play-party  or  dance  song.  See  Randolph's 
headnote  to  his  Missouri  texts,  JAFL  xlii  221,  and  to  those  from 
Arkansas  and  Missouri,  OFS  iii  324.  Botkin's  study  of  its  relation 
to  other  song  texts  in  Tlie  American  Play-Party  Song  269-72,  and 
the  McLendon  finding  list,  SFLQ  viii  219.  The  refrain,  and  very 
likely  the  tune,  have  drawn  to  it  stanzas  from  a  variety  of  other 
songs.  Payne,  commenting  on  his  Texas  version  (PFLST  i  32), 
says  a  dance-caller  once  told  him  there  are  one  hundred  and  forty- 
four  verses  of  it ;  and  Botkin  calls  it  "this  vigorously  and  fabulously 
vulgar  epic."  It  is  widelv  known  in  the  South:  Virginia  (SharpK 
11  259,  FSV  244-5),  West  Virginia  (FSS  495).  Kentucky  ( DD 
106-7),  Tennessee  ( TAFL  xxv  152,  BTFLS  v  23),  North  Caro- 
lina (SCSM  65,  ANFS  337),  Mississippi  (JAFL  xxv  152),  Texas 
(PFLST  I  32-4,  Owens  56-61),  Oklahoma  (Botkin  272-85),  Arkan- 
sas and  Missouri  (see  above);  Brewster  (SFLQ  iv  192-3)  reports 
it  from  Indiana;  the  Archive  of  American  Folk  Song  lists  thirty- 
seven  records  of  it  from  a  variety  of  places.  Mrs.  Steely  found  it 
in  the  Ebenezer  community  in  Wake  county.  It  seems  not  to  be 
known  in  New  England.  The  Brown  Collection  has  two  texts 
illustrating  the  tendency  to  attach  to  it  stanzas  from  other  songs, 
and  three  shorter  versions. 

A 

'Old  Joe  Clark.'     Cuntrilnitcd  in    i<),V)  by   Otis    Kuykendall   (if   .\slieville. 

I      Now  I've  got  no  money. 
Got  no  place  to  stay, 
I've  got  no  place  to  lay  my  head. 
And  the  chickens  a-crowin'  for  day. 

Chorus: 

Fare  you  well,  old  Joe  Clark, 
Fare  you  well,   1  say, 


PL  AY  -PARTY     AND     DANCE     SONGS  121 

Fare  you  well,  old  Joe  Clark, 
I'm  goin'  away  to  stay. 

2  I  wish  I  had  a  nickel, 
I  wish  I  had  a  dime, 

I  wish  I  had  a  pretty  little  girl 
To  kiss  and  call  her  mine. 

3  I  don't  like  old  Joe  Clark, 
I'll  tell  you  the  reason  why : 
He  goes  about  the  country 
A-steaHn'  good  men's  wives. 

4  I  went  down  to  old  Joe  Clark's, 
I  did  not  mean  no  harm  ; 

He  grabbed  his  old  forty-four 
And  shot  me  through  the  arm. 

5  Old  Joe  Clark's  a  mean  old  man. 
I'll  tell  you  the  reason  why : 

He  tore  down  my  old  rail  fence 
So  his  cattle  could  eat  my  rye. 

6  I  went  down  to  old  Joe  Clark's, 
I  found  old  Joe  in  bed ; 

I  stuck  my  finger  in  old  Joe's  eye 
And  killed  old  Joe  stone  dead. 

7  I  wouldn't  marry  that  old  maid, 
I'll  tell  you  the  reason  why: 
Her  neck's  so  long  and  stringy 
I'm  afraid  she'll  never  die. 

8  I  went  down  to  Dinah's  house. 
She  was  standin'  in  the  door 

With  her  shoes  and  stockings  in  her  hand 
And  her  feet  all  over  the  floor. 

9  Yonder  sits  a  turtle  dove. 
Sitting  on  yonder  pine  ; 

You  may  weep  for  your  true  love 
And  I  shall  weep  for  mine. 

B 

'Old  Joe  Clark.'  From  the  manuscripts  of  G.  S.  Robinson  of  Asheville, 
copy  taken  in  August,  1939.  This  text  uses  few  of  the  elements  used 
in  A. 

I     Old  Joe  Clark  he  killed  his  wife. 
Threw  her  in  the  branch  ; 
Going  to  be  hung  as  sure  as  your  life, 
Ain't  no  other  chance. 


122  NORTH  CAROLINA  FOLKLORE 

Clwrus: 

Fare  thee  well,  old  Joe  Clark, 
Fare  thee  well.  1  say, 
Fare  thee  well,  old  Joe  Clark, 
I'm  going  away  to  stay. 

2  1  don't  like  old  Joe  Clark, 
I  never  think  I  shall. 

I  don't  like  old  Joe  Clark, 
But  I  always  liked  his  gal. 

3  Old  Joe  Clark  was  a  mean  old  man, 
I'll  tell  you  the  reason  why  : 

Ran  across  my  garden  plot 
And  tore  down  my  rye. 

4  I  went  up  on  the  mountain  top 
To  give  my  horn  a  blow. 

I  thought  I  heard  my  sweetheart  say 
'Yonder  comes  my  beau.' 

5  If  I  had  no  horse  at  all 
I'd  be  found  a-crawling 

Up  and  down  the  rocky  branch 
Looking  for  my  darling. 

6  The  possum  in  the  simmon  tree. 
The  raccoon  on  the  ground ; 

The  raccoon  said.  'You  rascal,  you. 
Shake  them  simmons  down.' 

7  The  jayl)ird  in  the  sugar  tree. 
The  sparrow  on  the  ground  ; 
The  jaybird  shake  the  sugar  down. 
The  sparrow  passed  it  round. 

8  The  jaybird  and  the  s])arr()whawk 
They  fly  all  round  together. 

Had  a  fight  in  the  briar  patch 
And  never  lost  a  feather. 

9  The  jaybird   died   with   the  wlnxipiiig  cough. 
The  sparrow  with  tlie  colic. 

Along  came  a  terrajjin  with  a  fiddle  on  his  back 
Inquiring  the  way  to  the  frolic. 

c 

'Rock,  Rock.  Old  Joe  Clark."  Rf])<)rted  by  Miss  Jt-wcU  Kohbins  (after- 
wards Mrs.  C.  P.  Perdue)  from  Pekin,  Montgomery  county,  some  time 
in  the  period  1021-24.     With  tlie  tune. 


P  LAY-  V  A  R  T  V     AND     I)  A  N  C  E     SONGS  I23 

1  If  you  see  that  s^irl  o'  iniiie  when  you  go, 
Tell  her,  it  you  please. 

Tell  'er,  'fo'  she  makes  u\)  doui^h 
To  roll  uj)  her  dirty  sleeves. 

Chorus: 

Rock.  rock,  old  Joe  Clark, 
Cjoodhye.  Betty  Brown ; 
Rock,  rock,  old  Joe  Clark, 
Goodbye,  Betty  Brown. 

2  Taylor  wears  a  roundabout. 
So  does  all  the  rest ; 

John  Henderson  wears  a  long-tailed  sack 
And  I  lo\e  him  the  best. 

3  Farewell,  my  true  love, 
Farewell,  I'm  gone. 
Farewell,  old  Joe  Clark ; 
Goodbye,  Betty  Brown. 

D 

'Old  Joe  Clark."  This  text  was  supplied  by  G.  S.  Block,  but  the  manu- 
script has  no  indication  of  time  or  place.  It  is  accompanied  by  the 
music. 

1  Never  liked  the  old  Joe  Clark, 
Don't  think  I  ever  shall ; 
Never  liked  the  old  Joe  Clark, 
Always  liked  his  gal. 

Chorus: 

Round  and  round  the  old  Joe  Clark, 
Round  and  round,  I  say. 
Round  and  round  the  old  Joe  Clark, 
Ain't  got  long  to  stay. 

2  Fare  you  well,  old  Joe  Clark, 
Fare  you  well,  Fm  gone. 

Fare  you  well,  you  old  Joe  Clark, 
Goodbye,  Lucy  Long. 


'Old  Joe  Clark."  01)tained  l)y  Dr.  llrown  from  Eugene  C.  Crawford. 
a  student  at  Trinity  College;  no  notation  of  date  or  place  of  origin. 
Dr.  White  points  out  that  the  first  stanza  comes  from  the  Jolin  Hardy 
song,  and  suggests  that  the  "rock,  rock"  of  the  chorus  refers  to  tlie 
old  dance  of  'Rock  Candy,"  concerning  which  see  ANFS   162. 

I      I  don't  want  no  fifteen  cents, 
I  don't  want  no  change. 


124  -'^'  "  K  T  H     CAROLINA     FOLKLORE 

All  I  want  is  a  forty-four  gun, 
Shoot  John  Hardy  through  the  hrain. 

Chorus: 

Rock,  rock,  old  Joe  Clark, 
Rock,  rock,  I  say, 
Rock,  rock,  old  Joe  Clark, 
Rock,  rock,  I  say. 

2  Last  time  I  saw  my  wife 

She  was  standing  in  the  door ; 
Shoes  and  stockings  in  her  hand 
And  harefoot  all  over  the  floor. 

3  If  you  see  my  wife 
Tell  her,  if  you  please, 

To  roll  up  those  dirty  sleeves 
Before  she  make  of  her  dough. 


87 
What's  the  Lady's  ^NfoTTON? 

This  game  song  appears  to  have  been  reported  hitherto  only  from 
Virginia  (JAFL  xxxiv  119).  'Monkey  Motions'  (TNFS  133)  is 
something  like  it  but  not  the  same  song. 

'Skip  o'er  the  Mountain.'  Reported  in  1927  by  Julian  P.  Boyd  from  the 
singing  of  Catherine  Bennett,  one  of  his  pupils  in  the  school  at  Alliance, 
Pamlico  county.  The  first  line  and  the  refrain  are  repeated  with  each 
stanza. 

1  Skip  o'er  the  mountain, 
Tra-la-la-la-la, 

Skip  o'er  the  mountain, 

Tra-la-la-la-la. 

Ski])  o'er  the  mountain, 

Tra-la-la-la-la, 

Oh,  she  loves  sugar  and  cheese  1 

2  What's  the  lady's  motion? 

Oh,  she  loves  sugar  and  cheese! 

3  It's  a  very  lovely  motion. 

Oh,  she  loves  sugar  and  cheese! 

4  Yonder  goes  a  red-hird. 

Oh.  she  loves  sugar  and  cheese! 


PLAY  -PARTY     AND     DANCE     SONGS  1 25 

88 

The  Farmer's  Boy 

This  romance  of  farm  life  is  well  known  in  England  both  tra- 
ditionally and  in  stall  print  and  has  been  reported  in  this  country 
from  Vermont,  Virginia,  Missouri,  Ohio,  Wisconsin,  Iowa,  and 
Wyoming;  see  BSM  272  and  add  to  the  references  there  given 
Virginia  (FSV  71-2),  Missouri  (OFS  i  426-7),  Wisconsin  (JAFL 
Lii  ij),  and  Iowa  (JAFL  liv  172).  It  is  known  also  in  Michigan 
(BSSM  479,  listed  but  text  not  given).  The  texts  in  the  North 
Carolina  collection  are  so  closely  alike  that  only  one  is  given  here. 
It  appears  from  Mrs.  Sutton's  account  of  it  that  it  is  a  play-party 
song  in  Caldwell  and  adjoining  counties.  She  writes:  "  "The  Farm- 
er's Boy'  is  a  grand  tune  for  twistification.  The  good  dancers  can 
stamp  hard  on  the  o  sounds  in  the  chorus.  A  group  of  boys  and 
girls  singing  'For  to  reap  or  to  mow,  or  to  plow  or  to  sow,  or  to 
be  a  farmer's  boy'  and  dancing  an  old  English  dance  is  a  pretty 
sight.  'Twistification'  is  a  modified  form  of  an  intricate  old  dance 
'The  Grapevine  Swing.'  It  takes  skill  and  the  figures  are  pretty." 
Our  four  texts : 

A  'The  Farmer's  Boy.'     Contributed,  without  date  but  probably  in  191 5 
or  1916,  by  I.  G.  Greer  of  Boone.  Watauga  county.    With  the  music. 

B  'The    Farmer's    Boy.'      From    Miss    Averie    M.    Martin.      Text    given 
below. 

C  'The   Farmer   Boy.'      Collected   for   Professor   E.    L.    Starr   of   Salem 
College,  Winston-Salem;   probably  in   1915. 

D  'The  Farmer's  Boy.'     Collected,  probably  in  the  early  1920s,  by  Mrs. 
Sutton  in   Caldwell  county.     With  the  music. 


1  The  sun  had  set  behind  the  hill 
When  across  the  dreary  moor. 

All  weary  and  lame,  a  poor  bo}'  came 

Up  to  a  farmer's  door. 

'Can  you  tell  me  if  any  there  be 

Who'll  give  to  me  employ. 

For  to  plow  or  to  sow.  or  to  reap  or  to  mow. 

( )r  to  be  a  farmer's  boy  ? 

2  'My  father's  dead,  my  mother's  left 
With  her  five  children  small. 

And  what  is  worse  for  my  mother  yet 

I'm  the  eldest  of  them  all. 

Though  little  I  be  I  fear  not  work, 

If  you  will  me  employ 

For  to  plow  or  to  sow,  or  to  reap  or  to  mow 

Or  to  be  a  farmer's  boy.' 


126  NORTH     CAROLINA     FOLKLORE 

3  'W'f'll  try  the  lad'  the  farmer  said. 
'No  longer  let  him  seek.' 

'Oh,  yes.  dear  father.'  the  daughter  cried 

While  tears  ran  down  her  cheeks. 

'I<"or  a  lad  who'll  work  'tis  hard  to  want 

( )r  to  wander  for  employ 

For  to  plow  or  to  sow.  or  to  reap  or  to  mow. 

Or  to  he  a  farmer's  boy.' 

4  In  the  course  of  time  the  lad  grew  up 
And  the  good  old  farmer  died. 

Me  left  for  the  lad  the  farm  he  had 

And  his  daughter  for  a  bride. 

And  that  same  lad  who  is  a  farmer  now 

Doth  often  smile  with  joy 

On  the  lucky,  lucky  day  when  he  came  that  way 

For  to  be  a  farmer's  boy. 

89 

Sally  Goodix 

This  seems  to  be  a  plav-party  or  dance  sons^.  It  is  sung  in  Vir- 
ginia (FSV  249),  Kentucky  (BKH  158),  Tennessee  (ETWVMB 
98),  Mississippi  (JAFL  xxxix  168),  and  Missouri  (JAFL  xlii 
227-8,  OFS  II  350-1),  and  Ford  (Traditional  Music  of  America 
64)  reports  it  as  a  square-dance  song.  What  appear  to  be  frag- 
ments of  it,  dealing  with  "pie"  and  "pudding,"  are  reported  also 
from  INIissouri  (JAFL  xxiv  313,  where  Mrs.  Ames  calls  it  a  song 
used  in  kissing  games),  and  a  Negro  version  of  'Miss  Mary  Jane' 
from  South  Carolina  (TNFS  117)  says  that  "Sally  got  a  house  in 
Baltimo'  an'  it's  full  o'  chicken  pie."  Compare  also  texts  E  and  F 
of  'Wish  I  Had  a  Needle  and  Tln-ead'  in  this  volume.  Because  of 
this  apparent  connection  certain  North  Carolina  fragments  are 
here  presented  although  they  do  not  include  Sally's  name. 

A 

No  title.  This  appears  in  the  collection  as  'from  Mother  (ioosc  i)i  the 
Ocarks,  by  Ray  Wood,'  and  so  is  not  proi)crly  North  Carolina  folk 
song ;  but  it  was  probably  iiichulcd  by  Dr.  Brown  because  be  know  it 
in  North  Carolina. 

1  Tlad  a  ])iece  of  pie. 

I  lad  a  piece  of  puddin', 
(iave  it  all  away 
To  see  .Sally  (loodin. 

2  1   looked  down  the  road, 
.Saw  .Sally  coniin' : 

I  thought  to  my  soul 
I'd  kill  myself  a-runnin'. 


P  L  A  Y  -  P  A  R  T  V     AND     DANCE     S  0  N  c;  S  I27 

B 

'Sally  Goodin.'  Reported  by  Thomas  Smith  of  Zionville,  presumably  in 
1915,  as  a  dance  song  for  fiddle  and  banjo,  with  the  comment:  "The 
only  verse  so  far  as  I  can  learn  of  this  old  tune.  It  was  played  by 
lifers  in  the  Confederate  Army.  1  am  told  one  of  these  old  fifers,  L.  D. 
.Miller,  who  lives  near  Zionville,  can  yet  play  this  tune.  Sally  Goodin 
has  also  been  long  time  a  favorite  with  fiddlers  and  banjo  i)ickers." 
Later  the  tune  was  secured  as  sung  by  a  cousin  in  Silverstone. 

I  love  a  peach  pie  and  I  love  a  tater  ptuUHn' 
And  I  love  that  gal  they  call  Sallv  (ioodin. 


'Hunks  of   Pudding  and  Pieces  of  Pie.'     Rejxjrted  by   Miss  Adelaide  L. 
Fries  of  Winston-Salem  in   1926  as  "traditional  in  our  family." 

Hunks  of  ptiddin'  and  pieces  of  pie 
IVly  nianiniy  gave  nie  when  I  was  a  boy ; 
If  you  don't  believe,  then  come  and  see 
W'hat  hunks  of  puddin'  and  pieces  of  pie, 
Hunks  of  puddin'  and  pieces  of  pie 
IMy  mammy  ga\e  me  when  I  was  a  boy. 

D 

'Had  a  Pie.'     Reported  by  Mrs.  Doris  Overton  Brim  of  Durham,  prob- 
ably in  1922,  as  a  nursery  rhyme. 

Had  a  pie 

Made  out  of  rye, 

Rough  enough  and  tough  enough, 

More  than  all  can  eat. 


'The  Jaybird  and  the  Sparrow.'  Contributed  by  W.  E.  Poovey  of 
Marion,  McDowell  county,  in  1924.  This  is,  as  Dr.  White  notes  on 
the  manuscript,  "probably  a  stanza  of  'Sally  Goodin.'  " 

The   jaybird   and    the    sparrow    went    down    in    the    field 

together. 
They  had  a  fight  in  the  brier  patch  and  never  lost  a  feather. 

Refrain: 

Old  Sally  Goodin,  you  can't  fool  me, 
Old  Sally  Goodin,  you  can't  fool  me. 

90 

Doctor  Jones 

Known  also  in  Kentucky  (SharpK  ii  368).  Dr.  Brown  reports 
it  as  "a  game  played  by  grown  boys  and  girls  in  Madison  Countv. 
N.  C,  on  Paw-Paw  Creek,  between  Little  and   Big  Pine  Creeks?' 


128  NORTH  CAROLINA  FOLKLORE 

1  Dr.  Jones  is  a  good  man,  a  good  man,  a  good  man; 
Dr.  Jones  is  a  good  man,  he'll  help  whoever  he  can. 

2  Ladie*;    and    gentlemen,    sail    around,    sail    around,    sail 

around  ; 
Ladies  and  gentlemen,  sail  aroimd.  and  kiss  just  who  you 
please. 

3  Spider   in   the    dumpling,    roll    around,    roll   around,    roll 

around, 
Spider  in  the  dumpling,  roll  around,  roll  around  and  roll. 


91 

She  Loves  Coffee  and  I  Love  Tea 

This  is  rather  a  phrase,  a  line,  or  a  stanza  that  may  be  put  into 
a  song  than  an  independent  song  itself.  It  probably  derives  from 
an  English  nursery  jingle  (Halliwell  86)  "I  love  coffee  and  Billy 
loves  tea."  It  has  been  found  in  North  Carolina  (SharpK  11  383, 
as  a  play-party  song),  South  Carolina  (JAFL  xxvii  253,  in  a 
Negro  dance  song),  Mississippi  (JAFL  xxviii  186),  the  Ozarks 
(JAFL  XLii  219-20,  as  a  play-party  song),  Indiana  (SFLQ  iii 
174,  as  a  rope-skipping  chant)  ;  it  appears  without  precise  localiza- 
tion in  Negro  dance  songs  (Talley  81,  84-5)  ;^  Winifred  Smith  of 
Vassar  College  reports  it  as  a  jumping  rhyme  (JAFL  xxxix  84)  ; 
Mrs.  Richardson  (AMS  53)  gives  it  as  the  final  stanza  of  'The 
Keys  of  Canterbury,'  i.e.,  'A  Paper  of  Pins,'  as  sung  in  the  South- 
ern mountains.  Although  in  several  of  these  instances  it  appears  in 
play-party  or  dance  songs,  it  is  not  recognized  as  a  play-party  song 
either  in  Botkin's  study  or  in  the  McLendon  finding  list;  probably 
because  it  is  merely  an  element  in  the  songs,  not  a  song  by  itself. 
It  appears  in  two  forms  in  our  collection. 


'I  Love  Coffee,  I  Love  Tea.'     From  Miss  Doris  Overton  of  Durliam  in 
July  1922. 

1  love  coffee,  I  love  tea, 
I  love  the  boys,  and  the  boys  love  me. 
Wish  my  mama  would  hold  her  tongue; 
She  loved  the  boys  when  she  was  ycjung. 


'I  Love  Coffee,  I  Love  Tea.'     From  Mrs.  W.  L.  Pridgcn,  Durham.     The 
same  as  A. 

'  A  couplet  couinuuiicatcd  l)y  Cousor,  Bishopsville,  South  Caro- 
lina, sIkjws  that  it  lias  i)asscf!  into  the  repertory  of  the  Carolina  Negroes: 
I  drink  coffee  and  she  drinks  tea, 
I   love  a  yaller  gal   and  she  loves  me. 


PL  AY  -PARTY     AND     UANCE     SONGS  I29 

c 

No  title.     From  Allie  Ann   Pcarce,  Colerain,   Bertie  county.     'I'lie  same 
as  A  and  B. 

D 
'I    Love    Coffee,    I    Love    Tea.'      From    Carl    G.    Kno.x,    Durliam.      The 
first  four  lines  as  above  and  then  these  two : 


1  wi.sh  my  i)apa  would  do  the  same, 

For  he  eau.sed  a  girl  to  change  her  name. 


'Me  and   JMy   Sister,   We   Fell   Out.'     From   Carl   G.   Knox  of   Durham, 
the  same  who  supplied  D ;  but  the  text  is  quite  different : 

Me  and  my  sister,  we  fell  otit. 
What  was  it  all  about  ? 
She  loved  coffee,  and  I  loved  tea ; 
That's  the  reason  we  couldn't  agree. 


92 

I  Do  Love  Sugar  in  My  Coffee  O 

This  seems  to  be  no  more  than  a  refrain,  and  a  tmie,  to  which 
various  matter  may  be  attached.  I  have  found  it  reported  else- 
where from  Tennessee  (BTFLS  v  32-3),  Iowa  (JAFL  xxviii 
281),  and  as  Negro  song  not  localized  (Talley  30). 

A 

'I  Do  Like  Sugar  in  My  Coffee.'  Contributed  in  1915  by  Thomas  Smith 
of  Zionville,  Watauga  county,  as  a  "dance  song — fiddle  and  banjo."  He 
says  it  "was  played  and  sung  thirty  or  thirty-one  years  ago  by  a 
fiddler  named  Jehiel  Smith  who  lived  on  Sharp's  Creek." 

I  do  like  licker  and  I  will  love  a  dram. 

I'd  ruther  he  a  nigger  than  a  pore  white  man. 

Chorus: 

I  do  like  sugar  in  my  coffee  O 
x\nd  I  do  like  sugar  in  my  coffee  O 

Black  man  stole  the  white  man's  wife. 
White  man  struck  him  with  a  barlow  knife. 

B 

'A  Little  More  Sugar  in  My  Coffee.'  Communicated  by  Mrs.  Sutton 
(then  Miss  Maude  Minish)  in  1923  from  the  singing  (and  banjo  play- 
ing) of  "a  typical  story-book  mountaineer"  apparently  in  Caldwell 
county.  "He  has  blue-black  hair,  snappy  black  eyes,  a  debonair  manner 
and  a  devilisli  smile,  and  how  he  can  play  the  banjo!"  There  are  two 
copies  among  her  papers.  Tlie  longer  is  given  here,  with  notes  of  its 
variations  from  the  other.  The  tune  was  taken  down  by  Miss  Vivian 
Blackstock. 

N.C.F.,  Vol.   Ill,   (11) 


130  NORTH  CAROLINA  FOLKLORE 

1  The  rahhit  hipped,  tlie  rabbit  hopped, 
The  rabbit  bit  off  the  turnip  top. 

I  do  love  sugar  in  my  coffee  O 
1  do  love  sugar  in  ni}-  coffee  O. 

2  I  do  love  licker  and  1  will  take  a  dram. 
'Druther  be  a  nigger  than  a  pore  white  man. 
I  do  love  etc. 

3  I'll  make  my  licker  and  I'll  have  my  fun. 

But  I'll  run  like  hell  when  the  Revenues  come. 
I  do  love  etc. 

The  shorter  text  has   "I   do   want  sugar"   in  the   refrain  the   first  time, 
"a  little  more  sugar"  the  second  time ;  and  it  lacks  the  third  stanza. 

93 
Pop  Goes  the  Weasel 

This  old  favorite  dance  and  play-party  song — perhaps  one  should 
say  tune — is  represented  in  our  collection  by  but  a  single  stanza. 
For  its  vogue  as  a  play-party  song,  see  the  McLendon  finding  list, 
SFLQ  VIII  221 ;  for  its  history  see  the  headnote  to  Randolph's 
Ozarks  texts  (OFS  iii  368).  Davis  reports  it  as  a  Civil  War 
song  in  Virginia  (FSV  251).  Our  stanza  appears  in  one  of 
Davis's  texts  and  in  a  text  from  the  Midwest,  Ford's  Traditional 
Music  of  America  412.  But  the  whooping  cough  seems  to  have  some 
special  appeal  to  the  fancy  of  singers  in  the  South ;  see  'The  Jay- 
bird' in  this  volume. 

'Papa   Has    Got  the   Whooping   Cough.'      Contributed   by    H.    F.    Shaw 
from  "the  eastern  part  of  North  Carolina."     Not  dated. 

Papa  has  got  the  whooping  cough. 
Ma,  she's  got  the  measles ; 
That's  where  all  the  money  goes — 
Pop !  goes  the  weasel. 

94 
Turkey  in  the  Straw 

A  general  favorite.  See  Botkin  335-6  and  the  McLendon  finding 
list,  SFLQ  VIII  226.  Randolph  reports  it  from  the  Ozarks  (OFS 
II  353-5)  with  an  informative  headnote. 

'Turkey  in  the  Straw.'     Contributed  by   Aliss   Kate   S.   Russell   of   Rox- 
boro,  Person  county,  probably  in  1923.     With  the  music. 

Did  you  ever  go  a-fishing 
On  a  bright  sinnmer  day. 
See  the  little  fishes 
Come  out  to  play, 


P  L  A  Y  -  1'  A  R  T  Y     AND     DANCE     SONGS  I3I 

\\  ith  their  i)ants  in  their  pockets 
And  their  pockets  in  their  pants? 
Did  you  ever  see  the  ladies 
Do  their  hoochv-koochy  (kmce  ? 


95 

We're  All  A-Singing 

This  seems  to  be  a  mimetic  singing  game.  The  "dodging"  of  the 
last  two  lines  belongs  to  a  popular  satirical  song,  reported  by  Davis 
from  Virginia  (FSV  155)  and  by  Randolph  from  Arkansas  (OFS 
III  218),  and  found  also  in  our  collection,  pp.  387-9,  below. 

'Oh,  We're  All  A-Singing,  A-Sing-Sing-Singing.'  From  the  manuscript 
songbook  of  Airs.  Harold  Glasscock  of  Raleigh,  lent  to  Dr.  White  in 
December  1943.  Most  of  the  songs  in  the  book  Mrs.  Glasscock  learned 
from  her  parents. 

1  Oh,  we're  all  a-singing,  a-sing-sing-singing. 
Oh,  we're  all  a-singing  so  happy  and  so  gay ; 
We  open  wide  oiu-  lips  with  a  soft  fa  fa, 
And  merrily  we  skip  o'er  the  fra  la  la  la, 
Oh,  we're  all  a-singing  so  happy  and  so  gay. 

2  Oh,  we're  all  a-weaving,  a-weave-weave-weaving, 
Oh,  w-e're  all  a-weaving  so  happy  and  so  gay ; 
The  shuttle  in  our  hand  we  send  with  a  glide 

And  through  the  goods  it  goes  with  a  stride-stride-stride ; 
Oh,  we're  all  a-weaving  so  happy  and  so  gay. 

3  Oh,  we're  all  a-sewing,  a-sew-sew-sewing. 
Oh,  we're  all  a-sewing  so  happy  and  so  gay. 
The  needle  in  our  hand  we  stitch-stitch-stitch 

And  through  the  goods  it  goes  with  a  switch-switch-switch, 
Oh,  we're  all  a-sewing  so  happy  and  so  gay. 

4  Oh,  we're  all  a-sawing,  a-saw-saw-sawing. 
Oh,  we're  all  a-sawing  so  happy  and  so  gay ; 
The  saw  up  and  down  we  push-push-push 

And  through  the  wood  it  goes  with  a  swish-swish-swish  ; 
Oh,  we're  all  a-sawing  so  happy  and  so  gay. 

5  Oh,  we're  all  a-dodging.  a-dodge-dodge-dodging, 
Oh,  we're  all  a-dodging  so  happy  and  so  gay.  .  .  . 

96 

The  Dolly-Play  Song 

Not  a  play-party,  i.e.,  dance  song  but  a  singing  game  of  little 
girls.  'Early  Sunday  Morning,'  reported  from  Virginia  (SharpK 
II  373))  is  similar  but  has  no  dolls. 


132  NORTH     CAROLINA     FOLKLORE 

'The  Dolly  Play  Song.'  Contributed  by  \\'.  N.  Vaughan,  student  at 
Trinity  College,  probably  in  1920  or  thereabouts.  The  fifth  stanza  is  in 
Dr.  Brown's  hand,  possibly  procured  from  elsewhere. 

1  Here  we  come  with  our  dollies  dear. 
Dollies  dear,  dollies  dear  ; 

Here  we  come  with  our  dollies  dear. 
And  we're  their  little  mothers. 

2  This  is  the  way  we  comb  their  hair. 
Comb  their  hair,  comb  their  hair; 
This  is  the  way  we  comb  their  hair. 
For  we're  their  little  mothers. 

3  This  is  the  way  we  dress  our  dolls, 
Dress  our  dolls,  dress  our  dolls ; 
This  is  the  way  we  dress  our  dolls, 
For  we're  their  little  mothers. 

4  This  is  the  way  we  rock  them  to  sleep. 
Rock  them  to  sleep,  rock  them  to  sleep ; 
This  is  the  way  we  rock  them  to  sleep. 
For  we're  their  little  mothers. 

5  This  is  the  way  we  put  them  to  bed. 
Put  them  to  bed,  put  them  to  bed ; 
This  is  the  way  we  put  them  to  bed. 
For  we're  their  little  mothers. 

6  Here  we  come  with  our  dollies  dear. 
Dollies  dear,  dollies  dear  ; 

Here  we  come  with  our  dollies  dear 
And  we're  their  little  mothers. 


97 
Uncle  Joe  Cut  Off  His  Toe 

'i'his  title  is  chosen  because  the  stanza  to  which  it  belongs  seems 
to  have  a  certain  currency  independent  of  the  rest  of  the  A  text. 
Stanza  4  suggests  that  the  A  text  niiglit  be  reckoned  a  form  of 
'Liza  Jane' — which  is  a  song  of  very  indefinite  content.  Most  of 
its  stanzas  are  found  in  other  contexts;  stanza  i  commonly  with 
"raccoon"  instead  of  "'squirrel,"  as  in  "De  Raccoon  Has  a  Bushy 
Tail.'  which  see;  stanza  2  as  part  of  a  square-dance  song  (Ford's 
Traditional  Music  of  America  29)  ;  stanza  3  as  a  separate  item. 
'If  I  Had  a  Scolding  Wife';  stanza  5  is  substantially  the  same  as  a 
bit  of  Negro  song  reported  by  Pcrrow  from  Mississippi  (JAFL 
XXVI  126)  ;  stanza  7  is  but  a  slight  variation  of  the  second  stanza 
of  'Tlie  Jaybird'  A  and  D  in  our  collection.  See  also  White,  ANFS 
234-6,  and   Davis,  FSV   152.     The  chorus    (which   appears  as   the 


P  1.  A  V  -  1-  A  R  T  Y      A  X  I)     I)  A  X  C  I".     S  ()  N  V.  S  I33 

last  stanza  in  A)  is  known  also  in  Arkansas  and  'I'exas  (TNFS 
153-4).  Probably,  altboujjh  tlie  contributors  do  not  say  so,  the 
whole  thing  was  sung  as  a  play-party,  i.e.,  dance  song. 

A 

'Song.'  Contributed  by  Elsie  Doxcy  of  Currituck  county  as  sung  in 
western  North  Carolina. 

1  The  scitiir'l  he  has  a  btishy  tail. 
The  posstini's  tail  is  bare. 
The  rabbit  has  no  tail  at  all 
But  a  little  bit  of  hair. 

2  The  raccoon  up  a  chestnut  tree, 
The  possum  in  the  holler, 

A  purty  girl  at  our  house 
As  fat  as  she  can  waller. 

3  Ef  I  had  a  scolding  wife 
I'd  lick  her  sho's  yo'  bawn  ; 

I'd  take  her  down  to  New  Orleans 
En  trade  her  off  for  cawn. 

4  Git  erlong,  Liza, 

Git  erlong,  Liza  Jane  ; 

I  don't  keer  wherever  yoti  go 

Jes'  so  you  come  back  ergain. 

5  Once  I  had  an  old  gray  mule ; 
'Member  day  she  wuz  bawn. 
Ever'  tooth  that  ol'  mule  had 
Would  hold  a  barrel  of  cawn. 

6  Apples  in  the  spring-time. 
Peaches  in  the  fall ; 

Ef  I  can't  get  the  one  I  want 
I  won't  have  none  a-tall. 

7  Jay  bird  sitting  on  a  hickory  limb 
\\'inked  at  me,  I  winked  at  him ; 
Up  with  my  gun  and  let  her  go 
An'  knocked  her  plumb  to  Mexico. 

8  Uncle  Joe  cut  oft'  his  toe 
And  hung  it  up  to  dry  ; 

And  all  the  girls  began  to  laugh 
And  Joe  began  to  cry. 

9  Rock  the  cradle,  rock  the  cradle, 
Rock  the  cradle,  Joe. 

Rock  the  cradle,  rock  the  cradle, 
Rock  the  cradle,  Joe. 


1 34  NORTH  CAROLINA  FOLKLORE 

B 

'Peaches  in  the  Summer  Time.'  Contributed  by  W.  B.  Covington,  with 
the  notation:  'Sung  anywhere  in  X.  C,  but  first  heard  in  Scotland 
countj'.  Tliis  is  one  of  those  never  ending  songs."  But  all  that  he  set 
down  is  a  form  of  stanza  6  of  A  and  the  start  of  another  stanza. 

Peaches  in  the  summer  time. 
Apples  in  the  fall ; 
If  I  can't  get  the  gal  I  want 
I  won't  have  none  at  all. 

Cabbage  in  the  summer  time, 
Collards  in  the  fall.  .  .  . 

c 

'Old  Uncle  Joe  Cut  Off  His  Toe.'  Reported  by  S.  AI.  Davis  of  White 
Hall  on  the  Neuse  River  as  a  nursery  rhyme :  "A  song  my  mother's 
old  nurse  used  to  sing  her  to  sleep  by." 

1  Uncle  Joe  cut  off  his  toe 
And  hung  it  up  to  dry ; 
The  ladies  began  to  laugh 
And  Joe  began  to  cry. 

Clionts: 

Rock  the  cradle,  rock  the  cradle, 
Rock  the  cradle,  Joe. 
'I  will  not  rock,  I  shall  not  rock, 
For  the  baby  is  not  mine.' 

2  My  wife  is  sick,  my  wife  is  sick. 
My  wife  is  sick  abed. 

You  hateful  Reb,  you  hateful  Reb, 
There's  whiskey  in  your  head. 


The  first  stanza  of  C  is  reported  by   K.   P.   Lewis  of  Durham  as  sung 
in  iQio  l)y  Dr.  Kemp  P.  Battle  of  Chapel  Hill. 


'Uncle   Joe   Cut   Off   His    Toe.'     The   same   stanza   reported   by  

Fairley,  a  student  at  Duke  University.     Locale  and  date  not  noted. 

98 

(  )H.  L()\i:i:y.  Co.mk  This  W'.w 

Despite  the  mention  of  tlie  ])reacher,  the  church,  and  the  devil, 
this  seems  to  be  rather  a  play-jjarty  sonti;  than  a  spiritual.  I  have 
not  found  it  elsewhere. 

'Oh,  Lovely,  Come  llus  Way.'  Contributed  by  Miss  Pearle  Webb, 
Pineola,  Avery  county,  in  1922.  The  first  line  of  each  couplet  and  of 
the  chorus  is  rejK'ated  three  times,  making  a  four-line  stanza. 


PLAY-PARTY     AND     DANCK     SONGS  I35 

1  1  had  an  old  shoe,  it  had  no  heel, 
I  had  an  old  shoe,  it  had  no  heel, 
I  had  an  old  shoe,  it  had  no  heel, 

I  looked  like  a  i)i"eacher  with  a  mouthful  of  meal. 

Clwrits: 

Oh,  lovely,  come  this  way, 
Oh,  lovely,  come  this  way, 
Oh,  lovely,  come  this  way. 
Never  let  the  wheels  of  the  church  roll  away. 

2  I  had  an  old  shoe,  it  had  no  sole, 

I  looked  like  a  terrapin  a-going  to  his  hole. 

3  Whip  old  Satan  round  the  stump, 
To  hear  his  heart  go  flumpety  flump. 

4  I  had  an  old  ox,  I  led  him  to  the  well, 
He  stumped  his  toe  and  in  he  fell. 

5  Devil  in  the  meal  sack  shaking  out  the  bran, 
He  will  get  you  if  he  can. 

6  I  had  an  old  horse,  he  was  white  as  snow ; 
I  rode  him  every w4iere  I'd  go. 

7  Had  an  old  banjo  hanging  on  the  wall ; 
It  hasn't  been  tuned  since  away  last  fall. 

8  Granny's  pup  treed  the  devil  in  a  stump ; 
I  heard  his  heart  go  flumpety  flump. 

99 

The  Duke  of  York 

This  old  English  singing  game  or  jingle  (Gomme  i  121-2,  Halli- 
well  12,  Northall  98-9)  is  known  everywhere,  especially  to  college 
students.  It  is  recorded  as  traditional  song  in  Pennsylvania  (NPM 
195)  and  North  Carolina  (OSSG  41);  otherwise  collectors  have 
not  thought  it  worth  while  to  report  it. 

'The  Duke  of  York.'     Contributed  by  the   Misses  Holeman  of   Durliani 
in  July  1922. 

The  noble  Duke  of  York 

He  had  three  thousand  men. 

He  marched  them  up  the  hill  one  day 

And  then  marched  them  down  again. 

And  when  he  was  up  he  was  up. 

And  when  he  was  down  he  was  down, 

But  when  he  was  only  half-way  up 

He  was  neither  up  nor  down. 


1 36  NORTH      CAROLINA     FOLKLORE 

100 

I'll  Tell  Your  Daddy 

These  two  stanzas  look  as  if  they  might  be  fragments  of  a  play- 
party  song,  but  they  are  not  so  described  by  the  contributor.  The 
first  of  them  is  reported  as  the  chorus  of  a  mimetic  play  song  of 
children  in  Cincinnati  (JAFL  xl  16).  See  also  Davis  (FSV  149) 
and  Randolph  (OFS  iii  315-16). 

'John,  John,  John.'     Sent  in  by  Julian  P.  Boyd  as  obtained  in  1927  from 
Minnie  Lee,  pupil  in  the  school  at  Alliance,  Pamlico  county. 

1  John,  John,  John,  I'll  tell  your  daddy, 
John,  John,  John,  I'll  tell  your  daddy, 
John,  John.  John,  I'll  tell  your  daddy. 
So  early  in  the  morning. 

2  The  blue-eyed  gal  is  dead  and  gone. 
The  blue-eyed  gal  is  dead  and  gone. 
The  blue-eyed  gal  is  dead  and  gone. 
So  early  in  the  morning. 

lOI 

I  Want  to  Go  to  Baltimore 

Altha  Lea  McLendon's  finding  list  for  play-party  songs  (SFLQ 
VIII  202)  cites  several  texts  of  a  song  called  'Baltimore,'  but  none 
of  them  is  much  like  our  North  Carolina  fragment.  William  A. 
Owens  (Sun'ng  and  Turn  22)  says  of  his  Texas  form  of  it  that 
"this  song  seems  to  be  a  variant  of  the  old  bawdy  song  'Baltimore,' 
which  is  still  sung  by  certain  persons  of  low  repute." 

'I    Want   to    Go   to    Baltimore.'      Reported   by    Mrs.    W.   L.    Pridgen   of 
Durham  in  1923. 

I  want  to  go  to  Baltimore, 
I  want  to  go  to  France, 
I  want  to  go  to  Baltimore 
To  see  the  ladies  dance. 

102 

Poor  Little  Laura  Lee 

Perrow  (JAFL  xxviii  175-7)  gives  versions  of  this  song  ob- 
tained from  mountain  whites  in  North  Carolina,  Tennessee,  Ken- 
tucky, and  Mississippi  and  from  Negroes  in  Mississippi.  It  is  a 
hodgepodge  of  stanzas  trailing  off  into  the  'I  wouldn't  marry'  theme: 
but  there  is  no  doubt  that  our  A  version  is  a  form  of  it.  Our  other 
text  is  connected  with  it  only  by  the  name  'Laura  Lee'  and  the 
mention  of  the  yellow  girl,  who  appears  in  one  of  Perrow's  stanzas. 
.Stanza  2  of  A  seems  to  be  a  reminiscence  of  'CoiYee  Grows  on 
White  Oak  Trees,'  but  the  contributors  do  not  say  either  piece  is 
used  as  a  i)lay-party  song. 


r  I.  A  V  -  r  A  R  T  Y     AND     DANCE     SONGS  I37 

A 
'Laura  Lee.'    Contributed  hy  Clara  Hcarnc  of  Pittsl)oro,  Cliatliani  county, 
in  or  about   1022. 

1  Poor  little  Laura  Lee  gal. 
Poor  little  Laura  Lee  gal. 
Poor  little  Laura  Lee  gal, 
Do  pray  remember  me. 

2  Rifle  on  my  shoulder, 
Banjo  on  my  knee. 
Poor  little  Laura  Lee  gal. 
Do  pray  remember  me. 

B 

'Up  the  Lane  and  Down  the  Level."  From  Miss  Kate  S.  Russell  of 
Roxboro.  Person  county.  Not  dated,  but  about  1923.  The  pointing  is 
editorial  and  may  not  be  right. 

L'^p  the  lane  and  down  the  le\'el. 
Salute  your  bride,  you  ugly  devil. 

Laura  Lee ! 
Went  down  the  road,  didn't  go  to  stay. 
Met  up  with  a  yaller  gal  and  couldn't  get  away. 

103 
Darling.  You  Can't  Love  but  One 

This  number  song,  Professor  Hudson  tells  me.  is  a  familiar  tune 
at  North  Carolina  square  dances.  The  Archive  of  American  Folk 
Song  has  recordings  of   it   from   Connecticut,   Virginia,  and  Ohio. 

'New  River  Train.'     From  the  John  Burch  Blaylock  Collection. 

1  Lni  leaving  on  that  New  River  train. 
I'm  leaving  on  that  New  River  train. 
The  same  old  train  that  brought  me  here 
Is  going  to  carry  me  away. 

2  O  darling,  you  can't  love  but  one. 
O  darling,  you  can't  love  but  one. 

You  can't  love  but  one  and  have  au}-  fun. 
O  darling,  you  can't  love  but  one. 

3  O  darling,  you  can't  love  two. 
O  darling,  you  can't  love  two. 

You  can't  love  two  and  still  be  true. 
O  darling,  you  can't  love  two. 

4  ( )  darling,  you  can't  love  three, 
O  darling,  vou  can't  love  three. 


138  NORTH  CAROLINA  FOLKLORE 

You  can't  love  three  and  still  love  me, 
O  darling,  you  can't  love  three. 

5  O  darling,  you  can't  love  four, 
O  darling,  you  can't  love  four. 

You  can't  love  four,  and  love  me  any  more, 
O  darling,  you  can't  love  four. 

6  O  darling,  you  can't  love  five, 
O  darling,  you  can't  love  five. 

You  can't  love  five  and  get  honey  from  my  beehive, 
O  darling,  you  can't  love  five. 

7  O  darling,  you  can't  love  six, 
O  darling,  you  can't  love  six. 

You  can't  love  six  and  still  love  Saint  Nix, 
O  darling,  you  can't  love  six. 

8  O  darling,  you  can't  love  seven, 
O  darling,  you  can't  love  seven. 

You  can't  love  seven  and  go  with  me  to  heaven, 
O  darling,  you  can't  love  seven. 

9  Oh,  I'm  leaving  on  that  New  River  train. 
Oh,  I'm  leaving  on  that  New  River  train. 
The  same  old  train  that  brought  me  here 
Is  going  to  carry  me  away. 


104 
Page's  Train  Runs  So  Fast 

Southern  Pines  is  in  Hoke  county  near  the  Cumberland  county 
line.  Dr.  Brown  has  noted  on  the  manuscript:  "Made  when  South- 
ern Pines  was  built  up."  The  song  is  made  on  the  pattern  of 
'Cotton-Eyed  Joe,'  a  dance  song  the  words  of  which  generally  do 
not  extend  beyond  two  or  three  couplets,  though  as  known  in 
Texas  and  Louisiana  (TNFS  69-70)  it  has  something  like  a  story: 
the  singer  tells  how  cotton-eyed  Joe  "hoodooed"  liis  girl  away  from 
him  "forty  years  ago."  The  Lomaxes  (ABFS  262-3)  have  a  nine- 
couplet  version,  provenience  not  given.  In  its  reduced  form  of  a 
couplet  or  two  sung  to  a  dance  it  is  known  in  Tennessee  (BTFLS 
v  25,  OSC  99)  and  the  Midwest  (Ford's  Traditional  Music  of 
America  60)  and  among  the  Negroes  (ANFS  359,  Alabama,  and 
Talley's  Negro  Folk  Rhyi)ies  32  without  definite  locale). 

'Page's  Train   Runs  .So  I-ast."     From   Miss    Kwcll   Rolihins,   I'ckin.  Mont- 
gomery county,  in  ]<)22. 

1      Page's  train  runs  so  fast 

Can't  see  nolhin'  httt  the  window  glass. 


P  I.  A  Y  -  I'  A  R  T  V      A  X  1)     I)  A  N  C  K     SONGS  I39 

2  1  got  a  gal  ill  Sdutlicni  I'ines, 

She  ain't  so  prctt\'  hut  she  (h-ess  so  fine! 

3  Hadn't  a  heen  for  cotton-eyed  Joe 
I'd  a  been  married  forty  years  ago. 

105 
Turkey  Buzzard 

There  are  in  the  Collection  three  fragments  of  song  that  hear 
this  title  and  another  that  might.  One  of  them,  in  which  with 
the  turkey  huzzard  stanza  is  combined  a  memory  of  the  Civil  War, 
is  dealt  with  under  the  title  "Harness  Up  Yo'  Horses'  in  the  group 
of  Martial,  Political,  and  Patriotic  Songs,  below.  Texts  A  and  C 
certainly,  and  B  probably,  are  dance  songs.  C  is  a  stanza  from 
'Junip  Jim  Crow'  and  has  already  been  reported  (with  some  slight 
dilTerences)  from  North  Carolina  (ANFS  163).  South  Carolina 
(JAFL  XLiv  428).  and  New  Orleans  (TNFS  127). 


Turkey  Buzzard.'  Communicated  by  Thomas  Smith  from  Zionville, 
Watauga  county,  probably  in  1915;  the  tune  was  obtained  a  few  years 
later  frum  Mrs.  N.  T.  Byers.  In  her  singing,  the  first  line  of  "each 
stanza  is  sung  three  times,  which  makes  one  suspect  that  the  text  of  the 
first  stanza  is  not  correctly  reported.  Mr.  Smith  calls  it  a  jig  and  says 
that  it  is  "very  popular  among  mountain  musicians." 

1  Shoot  that  turkey  buzzard 
Come  flopping  down  the  hollow. 
Come  flopping  down  the  hollow. 

2  Shoot  old  Davy  Dugger  dead ; 

He  eat  my  meat  and  stole  my  bread. 

3  Shoot  old  Davy  Dugger, 
Take  his  wife  and  hug  her. 

4  Oh,  that  gal  with  a  blue  dress  on, 
She  stole  my  heart  and  now  she's  gone. 

B 

'Old  Turkey  Buzzard.'  Contributed  probably  in  1924  by  Carl  G.  Kno.x, 
student  at  Trinity  College,  as  a  "banjo  song."  With  the  music.  Four 
lines  only : 

Old  turkey  buzzard. 
Lend  me  your  wings 
To  fly  across  the  river 
To  see  Sally  King. 

c 

No  title.  Contributed  by  Flossie  Marshbanks  of  Mars  Hill.  Madison 
county.     It  is  a  stanza  from  T.  D.  Rice's  famous  'Jump  Jim  Crow.'     For 


140  X  0  K  T  H      CAROLINA      FOLKLORE 

its  use  as  a  play-party  song,  see  the  AIcLeiidoii  finding  list,  SFLQ  viii 
213.  Other  texts  show  that  "grub  and  hoe"  in  the  last  line  should  be 
"grubbin'  hoe,"  a  familiar  instrument  in  Southern  agriculture. 

'Where  you  gwine,  turkey  buzzard, 
Where  you  gwine,  crow  ?' 
'Gwine  down  in  the  new  ground 
To  get  the  grub  and  hoe.' 

106 

All  Around  de  Ring,  Miss  Julie 

Presumably  from  the  minstrel  stage  originally,  and  probably  used 
as  a  dance  song  in  North  Carolina,  though  the  informant  does  not 
say  so. 

'All  Around  de  Ring,  Miss  Julie."  Obtained,  probably  in  1927,  by  Julian 
P.  Boyd  at  Alliance,  Pamlico  county,  from  Catherine  Bennett. 

All  around  de  ring.  Miss  Juhe,  Julie,  Julie ! 

All  around  de  ring.  Miss  Juhe ! 

All  on  a  summer  day. 

Oh,  de  moon  shines  bright,  de  stars  give  light ; 

Look  way  over  yonder ! 

Hug  her  a  little  and  kiss  lier  too, 

And  tell  her  how  you  love  her  ! 

107 

Too  Young  to  Marry 

This  scrap  of  song  I  have  not  found  elsewhere.  Mr.  Smith's 
note  on  his  text  implies  tliat  it  is  a  dance  or  play-party  song. 

A 

'Pm  Aly  Mammy's  Youngest  Son.'  Contributed  by  I.  G.  Greer  of  Boone, 
Watauga  county,  apparently  in  1915  or  1916. 

I'm  my  manuny's  yoiuigest  son, 

I'm  my  mammy's  baby, 

I'm  my  mammy's  youngest  son, 

I'm  too  ycjinig  for  to  marry  yet. 

I'm  too  young, 

I'm  too  young  to  marry  yet; 

I'm  my  mammy's  youngest  son, 

I'm  my  mammy's  baby, 

I'm  my  manuny's  youngest  son, 

I'm  too  young  for  tcj  marry  yet. 


'I'm    My    .Mammy's    Youngest    Child,'      Kejxjrted    liy    Thomas    .Smith    of 
Zionville,   Watauga   county,   in    i<n.=;   as   a   "banjo   s(jng,"   with   the   nota- 


PL  AY  -PARTY     AND     DANCE     SONGS  I4I 

tion  tliat  it  is  all  that  he  could  recall  of  "a  song  witli  a  good  tunc. 
This  tunc  lias  been  a  favorite  with  fiddlers  and  banjo  pickers  for  many 
years." 

I'm  my  mammy's  youngest  child. 
I  am  my  mammy's  darlin', 
1  am  my  mammy's  youngest  child, 
1  am  too  young  to  marry. 


'Love  Somebody."  Recorded  by  Dr.  Brown  as  s>ung  by  Mark  Erwin  on 
Rabit  Ham  in  Leicester  Township,  P)uncombe  county,  probably  in  1921. 
The  second  stanza  belongs  to  a  quite  different  song. 

I'm  my  mamma's  darhn'  chile. 
I'm  my  mamma's  darlin'  chile, 
I'm  my  mamma's  darlin'  chile, 
I'm  most  too  young  to  marry  yet  a  while. 

I  love  somehody.  ves  I  do, 
I  love  somebody,  yes  I  do, 
I  love  somebody,  yes  I  do, 
And  I  wish  somebody  loved  me  too. 

108 

Poor  Little  Kitty  Puss 

This  dance  song  is  known  in  Virginia  (JAFL  xxvi  131)  and 
Mississippi  (FSM  293),  and  a  stanza  that  accompanies  it  in  Mis- 
sissippi is  known  in  Missouri  (JAFL  xxvii  291). 

'Pore  Little  Kitty  Puss.'  Reported  in  1915  by  Thomas  Smith  of  Zion- 
ville,  Watauga  county,  as  a  "dance  song — fiddle  and  banjo"  with  the 
notation:  "This  silly  song  with  a  tune  resembling  'Black-Eyed  Susie'  is 
very  old.  I  am  told  it  was  popular  here  before  the  Civil  V/ar.  It  w^^j 
olayed  at  dances  a  great  deal  and  there  are  lines  somewhere  in  the  song 
which  run  as  follow-s :  'If  you  can't  dance  Kitty  Puss  you  can't  dance 
nothin'.'  "  There  is  in  the  Collection  also  a  recording  of  this  song,  as 
sung  by  B.  L.  Lunsford  at  Turkey  Creek,  probably  in   1921. 

Pore  little  Kitty  Puss, 
Pore  little  feller, 
Pore  little  Kitty  Puss 
Died  in  the  cellar. 

CJionis: 

Pore  little  Fido, 
Pore  little  Fidie, 
Pore  little  Fidie 
Died  last  Friday. 


142  NORTH     CAROLINA     FOLKLORE 

109 

Fare  You  \\'ell,  My  Own  True  Love 

This  has  not  been  lound  elsewhere  reported  as  a  play-party  song. 
The  'keg  o'  rum'  stanza  is  known  in  Georgia  (FSSH  439)  and 
among  the  Negroes  in  Alabama  (ANFS  164).  Of  our  text  Dr. 
Brown  notes :  "Words  and  air  from  the  Rev.  Andrew  Jackson 
Burrus  originally  of  Rockford.  N.  C.  He  sang  this  to  his  own 
accompaniment  on  the  banjo.     I  remember  the  first  stanza  thus: 

If  I  had  a  keg  of  rum 

And  sugar  by  the  pound 

And  a  silver  spoon  to  stir  it  with 

I'd  treat  them  ladies  round." 

Actually,  however,  the  text  was  supplied  later,  in  August  1922,  by 
the  singer's  brother,  J.  H.  Burrus  of  Weaverville,  Buncondje  county, 
with  tlie  notation  that  it  was  "used  for  an  old  Virginia  break- 
down."    The  "Fare  you  well"  stanza  is  evidently  a  chorus. 

Fare  yon  well,  my  own  true  love, 
Fare  you  well,  I  say ; 
Fare  you  well,  my  own  true  love, 
T  am  gwine  away. 

1  Jf  I  had  a  keg  o'  rum, 
Sugar  by  the  pound, 

•\  great  big  bowl  to  put  it  in, 
A  spoon  to  stir  it  around. 

b'are  you  well,  etc. 

2  I  f  ever  you  intend  to  marry  at  all 
Oh,  do  pray  tell  me  now. 

You  broke  my  heart,  yoti  killed  me  dead. 
And  vou'll  be  hung  for  mtirder. 

Fare  you  well,  etc. 

3  I'll  give  my  heart  to  you  right  now; 
( )h.  do  give  yotU"s  to  me. 

We'll  lock  them  up  together  right  close 
And  throw  away  the  key. 

Fare  \'ou  well,  etc. 


no 
Mr.  Carter 

A    fragment   of   dance   song,   very   likely    from    some   music-hall 
piece.     But  I  have  not  found  it  elsewhere. 

'Mr.  Carter.'     Rci)orted  by  Thomas  Smith  of  Zionville,  Watauga  county ; 


r  L  A  Y  -  1'  A  K  T  Y      A  N  1)     1)  A  N  C  K     S  0  N  (;  S  143 

"said  to  liave  been  played  here  over  twenty  years  ago.     A  great  favorite 
with  liaiijo-pickers." 

Mister  Cyarter,  Mister  Cyarter, 
Won't  you  be  my  dawg? 
He  won't  bite  a  sheep 
But  'e  will  bite  a  hog. 

Ill 
Wish  I  Had  a  Needle  and  Thread 

Here  are  brouglit  togetlier  a  number  of  songs  tliat  are  linked  by 
stanzas  or  phrases,  though  not  all  of  them  have  the  element  that 
I  have  chosen  for  the  general  title.  Indeed,  they  are  hardly  integral 
songs  but  chance  aggregates  of  song  elements,  all  or  most  of  them 
used  in  plav-party  or  dance  songs.  The  needle-and-thread  motive 
is  found  in'Virginia  (TNFS  125),  North  Carolina  (JAFL  vi  131, 
ASb  308-9,  in  both  cases  as  part  of  a  'Liza  Jane'  song),  Texas 
(Owens  70-1),  Missouri  (JAFL  xlii  223,  OFS  in  184,  2<77) ,  and 
the  Bahamas  (JAFL  xlii  294).  The  "give  my  horn  a  blow"  motive 
has  been  found"  in  Missouri  (JAFL  xxiv  299)  and  without  specific 
locale  in  the  Midwest  (Ford  395,  again  in  a  'Liza  Jane'  song), 
and  sung  by  Negroes  in  North  Carolina  (ANFS  337).  With  F 
and  stanza  4  of  E  compare  'Sally  Goodin'  A  and  'Eliza  Jane'  (I) 
in  this  collection.  The  basic  stanza  appears  also  in  'Eliza  Jane' 
(II).  The  chorus  of  A  appears  also  in  'Shady  Grove'  and  the 
third  stanza  of  D  is  the  first  stanza  of  'Shady  Grove'  B.  The 
fourth  stanza  of  E  prompts  the  inclusion  here  of  F. 


No  title.  Obtained  from  someone  named  Hodgin ;  date  not  noted,  and 
place  only  as  "Southeastern" — which  probably  means  the  sontheastern 
part  of  the  state. 

1  I  wish  I  had  a  needle  and  thread 
Fine  as  I  could  sew. 

I'd  stitch  my  darling  to  my  side 
And  sail  to  Baltimo. 

Chorus: 

Wash  your  face  and  comb  your  head, 
Put  on  your  Sunday  clothes. 
Wash  your  face  and  comb  your  head. 
For  we're  going  to  Bridge's  Grove. 

2  Wish  I  had  a  pig  in  a  pen. 
Corn  to  feed  him  on, 

A  pretty  little  girl  to  stay  at  home 
To  feed  him  when  I'm  gone. 


144  NORTH  CAROLINA  FOLKLORE 


'"Wish  1    Had  a   Pig  in  a  Pen.'     Contributed  by  tlie  Misses  Holeman  of 
Durham  in  July  1922.     With  the  tune. 

1  Wish  I  had  a  pig  in  the  pen 
And  the  corn  to  feed  him  on. 
All  I  want  is  a  pretty  little  gal 
To  feed  him  when  Tm  gone. 

2  Wish  I  had  a  needle  and  thread 
Fine  as  1  could  sew ; 

I'd  sew  my  true  love  to  my  side 
And  down  the  road  I'd  go. 

3  (iit  up  on  the  mountain  top, 
Give  my  horn  a  blow, 

Think  1  hear  my  true  love  say 
'Yonder  comes  my  beau.' 


'If.'  This  single  quatrain  conies  not  from  North  but  from  South  Caro- 
lina, from  Cousor,  Bishopville,  S.  C. 

If  I  had  a  needle  and  thread 
As  fine  as  I  could  sew. 
I'd  sew  my  true  love  to  my  side 
And  down  the  road  I'd  go. 

D 

'I  Wish  I  Had  a  Pig  and  a  Pen.'  This  text  comes  from  W^orry,  Burke 
county,  in  1914.  Name  of  contributor  not  given;  perhaps  Miss  .Amy 
Henderson,  who  supplied  many  texts  from  that  neighborhood. 

1  I  wish  I  had  a  pig  and  a  pen. 
Corn  to  feed  him  on. 

Pretty  little  girl  to  stay  at  home. 
Feed  [him|  while  I  am  gone. 

2  Mamma  give  me  silver. 
Papa  give  me  gold. 

Sweetheart  give  me  a  sweet  little  kiss 
And  (jod  bless  her  sotil. 

3  (lod  bless  the  ocean, 
(i(jd  l)less  it  sweet, ^ 

(]od  bless  the  pretty  little  girls 
That  fell  m  love  with  me. 

'  The  priiici|)le  of  i)arallelism  and  the  rhyme  call  for  "the  sea"  here,  as 
in  'Siiadv  drove'   H. 


P  L  A  Y  -  P  A  R  T  Y     A  X  D     I)  A  N  C  l'.     S  ()  N  C  S  I45 


'Italy.'     Sung  by   Willard  Randall  of  Ellenhoro,   KiitlKTlurd  county.     No 
(late  given.     With  the  tune. 

I      Yonder  comes  a  pretty  little  ,i;irl. 
Tell  you  how  1  know  ; 
Her  head  is  full  of  pretty  little  curls 
A-haiigiii'  down  so  low. 

Clionts: 

I'm  going-  to  Italy  'fore  long, 
Going  to  Italy  'fore  long, 
I'm  going  to  Italy  'fore  long 
To  see  that  gal  of  mine. 

2  Finger  ring,  tinger  ring. 
Shines  like  glittering  gold. 
I'm  going  to  see  my  dear  love 
Before  she  gets  too  old. 

3  Apple  like  a  cherry. 
Cherry  like  a  rose. 

How  I  love  my  pretty  little  girl. 
Oh.  God  in  heaven  knows. 

4  I  have  a  house  in  Baltimore, 
Sixteen  stories  high  ; 
Every  story  in  that  house 

Is  filled  with  rock  and  rye. 

5  I  wish  I  was  an  apple 
Hanging  in  the  tree ; 

Every  time  my  sweetheart  passed 
She'd  take  a  hite  of  me. 

6  I  wish  I  had  a  needle  and  thread 
As  fine  as  I  could  sew, 

And  a  thimble  from  Ijaltimore 
To  make  that  needle  go. 


'Big  Fine  House  in  Baltimore.'  Contributed  by  Lucille  Cheek  from 
Chatham  county,  witiiout  date.  The  text  is  different  from  that  of  the 
same  title  in  John  \V.  Work's  American  Negro  Soiu/s  (1940  ed.)  241 
but  is  probably  a  version  of  the  same  piece.  Similar  "chicken  pie" 
stanzas  are  sung  by  Negroes  in  South  Carolina  (JAFL  xxvu  249, 
TNFS  117)  and  Alabama  (ANFS  155),  which  are  perliaps  to  be  traced 
back  to  a  Yorkshire  knitting  rhyme  reported  in  JAFL  vui  81. 

I      Big  fine  house  in  Baltimore. 
Big  fine  house  in  Baltimore, 

X.C.K..  \i.l.   Ill,   (IJ) 


146  NORTH  CAROLINA  FOLKLORE 

Big  fine  house  in  Baltimore, 
Sixteen  stories  high. 

2  Every  story  in  that  house, 
Every  story  in  that  house, 
Every  story  in  that  house, 
Filled  with  chicken  pie. 


'Song.'  Reported  by  Cozette  Coble,  apparently  from  Stanly  county;  not 
dated.  For  lines  5-8  see  headnote  above.  For  the  "apron  strings"  motive 
see  BSM  202.     In  line  6  "horny"  is  of  course  for  "horn  a." 

1  Yonder  comes  my  old  true  love ; 
How  do  I  know  ? 

I  tell  her  by  her  apron  string 
Hanging  down  so  low. 

2  If  I  were  on  the  mountain  top 
I'd  give  my  horny  blow. 

I  hear  my  true  lover  say, 
'Yonder  comes  mv  beau.' 


LULLABIES    AND    NURSERY 
RHYMES 


OF  THE  LULLABIES,  some— 'Rock-a-hy  Baby,'  'Bye  Baby 
Bunting.'  'Kitty  Alone' — are  part  of  our  Engbsb  inberitance. 
Tbe  last  of  tbese,  'Kitty  Alone,'  derives  from  'Tbere  Was  a  Frog 
Lived  in  a  Well'  and  is  sometimes  reckoned  a  form  of  'The  Frog's 
Courtship.'  but  our  North  Carolina  version  has  lost  all  connection 
with  the  frog  and  the  mouse  and  the  wedding  party  and  become 
purely  a  lullaby,  a  "sleepy  song,"  as  the  singer  says,  of  peculiar 
loveliness.  Others,  rather  more  numerous,  seem  to  be  creations  of 
the  Negro  "mammy" — or  have  been  made  on  the  suggestion  of  her 
singing.  'Poor  Little  Lamb  Cries  "Mammy"  '  strikingly  combines 
gruesomeness  and  tenderness. 

The  nursery  songs  cover  a  wide  range.  'The  Frog's  Courtship' 
appears  many  times,  most  often  with  the  nasal  hummed  refrain  but 
also  sometimes  with  the  "kimo"  chorus.  'I  Went  Down  to  Suckie's 
House'  and  'Old  Napper'  seem  to  be  made  on  the  frame  of  'Taffy 
Was  a  Welshman'  though  neither  Taffy  nor  a  Welshman  appears 
in  them.  'Billy  Boy'  is  reported  nearly  fifty  times,  from  all  parts 
of  the  state,  and  his  love  has  an  amusing  variety  of  accomplish- 
ments. 'Oh,  Dear,  What  Can  the  Matter  Be?'  is  no  doubt  much 
better  known  than  the  two  texts  reported  would  imply.  The  imita- 
tion of  barnyard  sounds  appears  in  two  songs,  'Barnyard  Song' 
and  'McDonald's  Farm,'  both  of  which  are  probably  though  not 
demonstrably  of  Old  World  origin.  Other  favorites  are  'Go  Tell 
Aunt  Patsy,'  'The  Fox  and  the  Goose'  (who  is  more  often  a  duck) 
and  'The  Old  Woman  and  Her  Pig.'  'Chicken  in  the  Bread  Tray' 
seems  to  belong  to  the  Southern  states.  Se(|uence  or  cumulative 
songs  are  represented  by  'The  Pretty  Pear  Tree,'  'John  Brown  Had 
a  Little  Injun,'  'Bingo,'  and  'The  Vowels.'  There  are  nine  more 
or  less  variant  versions  of  that  shivery  delight  of  childhood  'The 
Old  Woman  All  Skin  and  Bones.'  Several  Mother  Goose  rhymes 
and  nonsense  jingles  occur,  of  course.  Some  songs  and  song  frag- 
ments that  cannot  be  traced  and  are  of  doubtful  validity  as  folk 
song  have  been  included. 


148  NORTH     CAROLINA     I-  0  L  K  L  0  R  E 

112 

Bye  Baby  Bunting 

Perhaps  because  it  is  so  very  widely  known  and  sung,  this  old 
English  lullaby  (Halliwell  102.  Northall  426)  does  not  often  appear 
in  collections  of  traditional  folk  song.  It  has  been  reported  from 
\'irginia  (FSV  183),  Kentucky  (Shearin  38),  and  from  Jamaican 
Negroes  (JAFL  xli  589 )  ;  but  it  is  probably  sung  to  children  in 
every  state  in  the  Union.  It  appears  twenty-odd  times  in  our  col- 
lection, in  localities  all  the  way  from  the  mountains  to  the  sea  and 
with  very  little  variation  in  form.  The  following,  from  Professor 
J.  T.  C.  Wright.  Boone,  Watauga  county  (with  the  tune),  may  be 
reckoned  the  standard  form : 

Bye,  baby  bunting. 
Daddy's  gone  a-hunting 
To  get  a  little  rabbit  skin 
To  wrap  the  baby  bunting  in. 

The  variations  appear  chiefly  in  the  last  line,  which  often  lacks  a 
syllable,  reading  "up"  instead  of  "bunting."  or,  with  a  shifting  of 
the  stress  incidence. 

To  wrap  baby  bunting  up  in. 

or  even,  with  the  loss  of  one  stress, 

To  wrap  the  baby  in. 

Only  one  text,  reported  by  Mrs.  Nilla  Lancaster  from  Wayne 
county,  adds  a  second  stanza : 

Sister  stayed  at  borne 

To  rock-a-byc-a-baby  bttnting. 

Mama  stayed  at  home 

To  bake  a  cake  for  babv  bunting. 


"3 
Rock-a-1jNk  I)Aby  in  the  Tree-Top 

Like  'Bye  Baby  Bunting.'  this  old  English  lullaby  (  Halliwell 
102  and  137,  Northall  425-6,  Riml)ault  17)  seldom  appears  in  col- 
lections of  traditional  folk  song;  it  is  listed  in  ]\Iiss  Pound's  Mid- 
western syllabus  and  by  Davis  as  found  in  X'irginia  (FSV  182), 
and  as  sung  in  Jamaica  (JAFL  xli  500).  But  uncjuestionably  it  is 
known  and  sung  all  over  the  United  .States.  It  appears  a  dozen 
times  in  our  collection,  in  localities  all  the  way  from  the  mountains 
to  the  sea.  The  texts  vary  but  little.  The  following,  reported  by 
Allie  Ann  Pearce,  Colerain,  Bertie  county,  may  be  taken  as  the 
normal  text : 

Rock-a-bye  baby  in  tbe  tree-top. 
When  tbe  wind  l)lows  tbe  cradle  will  rock. 
When  the  bough  breaks  tbe  cradle  will  fall 
And  down  will  come  cradle,  babv.  and  all. 


L  U  L  L  A  1!  1  !•:  S     AND     N  L'  K  S  K  R  Y     K  H  V  M  K  S  I49 

One  text  slitilitly  chaniics  the  tliird  line,  reading- 

Tile  liiul)  will  break  and  the  cradle  will  fall. 

Down  will  come  babies,  cradle,  and  all. 

Down  will  come  babies,  cradle,  and  all. 

One  tills  out  tlie  trisyllabic  rhythm  expected  in  tlie  last  line: 

Down  will  come  bab\\  bough,  cradle,  and  all. 

And  one  has  lost  the  third  line  of  the  quatrain: 

Rocky  b\-,  baby,  in  the  tree  top. 

When  the  wind  blows  the  cradle  will  rock. 

Down  comes  baby,  cradle,  and  all. 


114 
Kitty  Alone 

'There  Was  a  Frofj  Lived  in  a  Well,'  with  its  "Kitty  alone"  re- 
frain, is  commonly  reckoned  a  form  of  'The  Frog's  Courtship' 
because  it  includes  in  many  of  its  versions  much  of  the  nonsensical 
matter  of  the  wedding-  party  of  tliat  song.  In  itself,  however,  it  is 
an  independent  song,  so  recognized  in  Halli well's  Nursery  Rhymes 
of  England  and  in  Rimhault's  Nursery  Rhymes,  and  going  back  to 
the  eighteenth  and  possibly  to  the  sixteenth  century.  See  the  head- 
note  to  'The  Frog's  Courtship'  in  this  volume  and  BSM  495,  and 
add  to  the  references  given  in  the  latter  Massachusetts  (FSONE 
204-5)  and  Indiana  (BSI  234).  Our  North  Carolina  song  with 
the  "Kitty  alone"  refrain  has  no  mouse,  no  courtship,  no  wedding 
party;  it  is  purely  a  lullaby,  and  is  therefore  presented  here  as  a 
separate  item. 

'Cradle  Song.'  Reported  by  Mrs.  Sutton  as  sung  by  Mrs.  Silas  Bu- 
chanan of  Horse  Creek,  Ashe  county,  "sitting  in  a  homemade  chair  in  the 
little  porch  of  her  log  cat)in  crooning  this  song  to  a  hlackhaired  baby.  .  .  . 
'It's  a  sleepy  song,'  my  hostess  said;  'mammy  sung  hit  to  me,  I  sing  Iiit 
to  Elziny,  she'll  sing  hit  to  her  younguns.     Younguns  like  hit.'  " 

1  Saw  a  crow  a-flyin'  low. 
Kitty  alone,  kitty  alone, 
Saw  a  crow  a-flyin'  low, 
Kitty  alone  alee. 

Saw  a  crow  a-flyin'  low 

And  a  cat  a-spinnin'  tow. 

Rockabye  baby  bye,  rockabye  babv  bye. 

2  Saw  a  red  cloud  in  the  sky, 
Kitty  alone,  kitty  alone. 
Saw  a  red  cloud  in  the  sky, 
Kitty  alone  alee. 

Saw  a  red  cloud  in  the  sky 


I  50  N  0  R  T  II     CAROLINA     I-  O  L  K  L  O  R  E 

And  a  star  a-sailin'  l)y. 

Rockabye  baby  l)\e,  lockabye  bab}-  bye. 

3  Saw  tbe  moon  in  tbe  river  bed, 
Kitty  alone,  kitty  alone. 

Saw  tbe  moon  in  tbe  river  bed, 

Kitty  alone  alee. 

Saw  tbe  moon  in  tbe  river  bed. 

Big  black  frog  swnm  over  her  head. 

Rockabye  baby  bye.  rockabye  baby  bye. 

4  Saw  an  owl  in  tbe  hickory  tree, 
Kitty  alone,  kitty  alone. 

Saw  an  owl  in  the  hickory  tree, 

Kitty  alone  alee. 

Saw  an  owl  in  the  hickory  tree. 

Big  owl  eyes  a-lookin'  at  me. 

Rockabye  baby  bye,  rockabye  baby  bye. 

"5 
Hush-a-Bye,  Don't  You  Cry 

This  lullaby  is  perhaps  of  Southern  origin.  It  is  not  recorded 
by  Halliwell  or  Rinil)ault  nor  has  it  been  reported  by  folk-song  col- 
lectors in  New  England  or  the  Middle  or  the  Western  states,  but 
it  is  known  in  Virginia  (SharpK  ii  341,  FSV  182-3),  South  Caro- 
lina (JAFL  XLiv  419),  Georgia  (JAFL  xlvii  334,  ASb  454-5), 
Louisiana  (TNFS  147,  Negroes),  and  Texas  (TNFS  145-6, 
Negroes).     It  appears  four  times  in  our  collection. 


'Hush-a-Bj-.'  Reported  by  Laura  AL  Cromartie  of  Garland,  Sampson 
county.  Not  dated.  Dr.  White  notes  on  the  manuscript :  "I  recall  the 
third  stanza  from  my  own  childhood  in  Statcsville,  N.  C.,  ca.  1898." 

1  Hush  a  by  an'  don't  you  cry, 
x^n'  go  to  sleep,  little  baby  ; 

When  you  wake  you  shall  have  some  cake 
An'  ricle  a  pretty  little  horsey. 

2  You  shall  have  a  little  canoe 
An'  a  little  bit  of  a  i)addle  ; 
You  shall  have  a  little  red  mule 
An'  a  little  bitty  saddle. 

3  Tbe  black  an'  the  bay,  the  sorrel  an'  the  grey, 
.\11  belong  to  my  baby. 

So  hush  a  by  an'  don't  you  cry 
An'  go  to  sleep,  little  baby. 


LULLABIES     AND     NURSERY     RHYMES  I5I 

B 

'Rock-a-bye,    Don't    You    Cry."      From    Mrs.    Nilla    Lancaster,    Wayne 
county.     Probably  in  1923. 

1  Rock-a-bye,  don't  you  cry, 
Go  to  sleep,  little  baby. 

When  baby  wakes,  give  her  some  cake ; 
That  will  do  for  baby. 

2  Rock-a-bye,  don't  you  cry. 

All  those  piu'ty  little,  little  horsies. 
W  hen  baby  wakes,  give  him  cake. 
Let  him  ride  them  purty  little  horsies. 


'Go  to  Sleep.'     Not  really  a  North  Carolina  text,  having  been  contributed 
by  Cornelia  Evermond  Covington  from  Florence  county,  South  Carolina. 

Go  to  sleep,  go  to  sleep. 

Go  to  sleep,  little  baby. 

When  you  wake  I'll  give  yoti  a  cake 

And  five  or  six  little  horses. 


'Go  to  Sleep,  Go  to  Sleep.'  Communicated  by  Louise  W.  Sloan,  of 
Bladen  county.  Differs  from  C  only  in  the  last  line,  which  runs :  "A 
coach  and  four  little  horses." 

116 
Go  TO  Sleep,  ]\Iy  Little  Pickaninny 

Perliaps  tliis  should  rather  be  named  from  its  first  line,  'I'se  a 
little  Alabama  coon.'  Dr.  White  remarks  of  it :  "A  minstrel  or 
'coon-song'  of  the  late  nineteenth  century,  used  as  a  nursery  song. 
I  remember  it  from  childhood,  ca.  igoo."  In  ANFS  397  it  is  re- 
ported from  Alabama,  in  TNFS  146-7  from  Texas,  in  JAFL  xli 
590-1  from  Jamaica,  all  these  as  sung  by  Negroes;  SharpK  11  346 
reports  it   from  Virginia,  presumably   from  the  singing  of  whites. 

A 

'Little  Alabama  Coon.'  Contributed  in  1927  liy  Julian  P.  Boyd  of  Alli- 
ance, Pamlico  county. 

I     I'se  a  little  Alabama  coon, 
Hain't  been  born  very  long. 
I  remember  seeing  a  big  round  moon, 
'Member  hearing  one  sweet  song. 
When  dey  toted  me  down  to  de  cottonfield 
Dar  I  rolled  and  I  tumbled  in  de  sun  ; 

Daddy  picked  de  cotton  and  mammy  watched  me  grow, 
And  dis  am  de  song  she  sung : 


1 52  NORTH  CAROLINA  FOLKLORE 

Chorus: 

Go  to  sleep,  my  little  pickaninny, 
Brudder  Fox'll  catch  you  it  you  don't; 
Slumber  on  de  bosom  of  your  old  mammy  Jinny. 
Mammy's  gwine  to  switch  you  if  you  won't. 
Hush-ush-hush  lu-lulla-luU-lu-lulla 
Underneath  the  silver  southern  moon ; 
Hush-a-bye.  rock-a-bye.  mammy's  little  baby, 
Mammy's  little  Alabama  coon. 

2     Dis  here  little  Alabama  coon 

'Spects  to  be  a  grown-up  man  some  day. 

Dey's  gwine  to  christen  me  soon. 

My  name's  gwine  to  be  Henry  Clay. 

When  I'se  big.  I'se  gwine  with  de  yaller  gals 

And  we'll  have  pickaninnies  ob  our  own ; 

Dey'll  slumber  on  de  bosom  ob  dear  old  mamni}'  Jinny. 

Dis  am  de  song  she'll  croon : 

B 

'Go  to  Sleep.  My  Little  Pickaninny.'  From  Mabel  Ballentine,  Wake 
county.  Not  dated.  A  reduced  text,  not  much  like  A  yet  clearly  a 
form  of  the  same  song. 

1  Go  to  sleep,  my  little  pickaninny. 
Brother  Fox  will  catch  you  if  you  don't. 
Ride  on  the  old  mammy  Jinny, 

My  little  pickaninny  coon. 

2  Snake  baked  a  hoecake  and  set  the  frog  to  mind. 

The  frog  dropped  asleep,  and  the  lizard  come  and  find. 
Bring  back  my  hoecake.  you  long-tailed  Nanny  ! 

C 

No  title.  Reported,  apparently  in  1923,  by  Helen  Eraser  Smith  as  "an 
old  lullaby"  preferred  by  her  nurse.  Only  lines  i,  6,  7,  8  of  the  chorus 
of  A.     No  place  nor  date  indicated. 

117 
Poor  Littlk  La.mh  Cries  'Mammy!' 

This  lullaby — suf^^estive,  somewhat,  of  "The  1  \va  Corbies'  (  Child 
26) — is  reported  by  Miss  Scarborous^h  (TNF.S  147-9)  ""  three 
forms:  one  from  Virj^inia  (where  it  is  told  of  a  cow  and  her  calf). 
one  from  New  Orleans  (ewe  and  Ianii)|,  and  one  known  in  both 
Virp^inia  and  South  Carolina  (where  as  in  our  A  it  is  the  "mannnv" 
whose  eyes  are  beini;:  picked  out  by  jjnats  and  Hies).  Davis  lists 
two  te.xts  from  Virg^inia  (F.SV  204)  and  Randolph  two  from  Mis- 
souri (Ol'^.S  II  ,:545-6).  Jolui  W.  Work's  .Inicn'caii  Xcgro  Songs 
250  has  a  version  w  ithout  the  macabre  trait  of  tlio  eyes  bcinir  ])ickcd 


L  V  I.  I,  A  li  1  E  S      A  N  I)      N   V  R  S  K  R  Y      R  H  V  M   K  S  I  53 

out.  Mrs.  Riclianlson  (AMS  49)  gives  a  version  of  'The  Foolish 
Boy'  which  uses  "tlie  pore  httle  thing  cried  'Mammy'  "  as  refrain. 
Mrs.  Steely  reports  the  refrain  stanza  as  part  of  a  medley  heard 
in  the  Ebenezer  community  in  Wake  county. 

A 

'Cradle  Song.'  Reported  by  W.  B.  Covington  in  1913  as  part  of  his 
"reminiscences  of  my  early  youth  spent  on  the  border  of  the  sand  hills 
of  Scotland  county."  Mrs.  Sutton  also  supplies  a  text,  identical  except 
that  it  omits  "bell'  'in  the  first  line,  but  does  not  say  where  or  when 
she  got  it. 

1  The  old  cow  bell  goes  jingle-ing. 
Go  to  sleep,  little  baby. 

Papa  gone  and  mama  too. 
Go  to  sleep,  little  baby. 

2  Little  black  sheep,  little  black  sheep, 
WHiere  is  your  mammy  ? 

Way  down  in  the  meadow. 
Little  black  fly  pickin'  in  her  eye. 
Poor  little  lamb  cries  'Mammy !' 

6 

'Black  Sheep,  Black  Sheep,  Where'd  You  Leave  Your  Lamb?'  From 
R.  D.  Ware,  student  at  Trinity  College  ;  probably  heard  in  Stanly  county. 

'Black  sheep,  black  sheep,  where'd  you  leave  yotir  lamb?' 

'I  left  iiim  down  in  the  valley. 

Birds  and  butterflies  picking  out  his  eyes 

And  the  poor  little  thing  crying  "Mam-ma,  mam-ma!"' 

c 
'Old  Black  Sheep.'     From   Miss   Florence  Holton,   Durham.     Not  dated. 

'Say,  old  black  sheep,  where's  yotir  lamb?' 
'Way  down  yonder  in  the  valley. 
Crow  and  blackbird  picking  out  its  eye ; 
Poor  little  lamb  cries  "Mammy!"  ' 

118 
Hush.  Honey.  Hush 

This  begins  as  a  lullaby  but  passes  into  a  dance  song,  or  at  least 
into  a  "banjo-picking"  tune.  It  is  without  finder's  name  in  the 
collection,  but  bears  this  notation:  "Found  in  Guilford  county,  near 
High  Point.  Sung  by  Negroes  before  Civil  War."  Compare 
Talley,  Negro  Folk  Rhymes  21,  'The  Banjo  Picking.' 

Hush,  honey,  hush, 

Not  a  bit  o'  fuss. 

While  ole  master's  sleeping. 


1 54  N  0  R  T  H     C  A  R  O  L  I  N  A     FOLKLORE 

Go  down  to  the  barn. 

\\  akt"  up  the  boys. 

And  liave  a  Httle  banjo  pickini;-. 

Tink-a-link  a-Hnk  a-link  a-link  a-Hnk  a-bnk. 

"Refrain   with  banjo.     The   refrain   is   a   banjo   sound  and   produces   the 
effect  of  a  banjo  being  played." 


119 
PiTTY  Patty  Poke 

A  nursery  jini::le  said  wliile  one  pats  the  baby's  feet.  Possibly 
it  is  only  a  modification  of  the  old  English  nursery  rhyme  (Mason 
3.  Halliwell  132,  JAFL  xxxi  62)  'Pat-a-cake  pat-a-cake  baker's 
man.' 

■Pitty  Patty  Poke.     Nursery  Kliyme."     From  Airs.  Doris  Overton  Brim, 
Durham,  1924  or  thereabouts. 

Pitty  patty  poke, 
Shoe  the  wild  colt. 
Here  a  nail,  there  a  nail. 
Pitty  patty  poke. 

120 

The  Frog's  Courtship 

For  the  history  and  range  of  this  nursery  classic,  see  Kit- 
tredge's  bibliographical  note  (JAFL  xxxv  394-9),  Payne's  study 
(PFLST  V  5-49),  Grace  Partridge  Smith's  (JAFL  lii  125-7),  and 
the  headnote  in  the  Missouri  collection  (  BSM  494-5),  and  add  to 
the  references  in  the  last  of  these  Massachusetts  (FSONE  204-6), 
X'irginia  (FSV  208-13),  Tennessee  (BTFLS  v  43-5),  Florida 
( .SFLQ  IV  146-7,  VIII  179-81),  the  Ozarks  (OFS  i  403-10),  Indiana 
(BSI  226-38),  and  Michigan  (BSSM  455-9).  Of  the  six  types 
into  which  Payne  divides  the  texts  our  collection  shows  chiefly  two, 
that  with  the  "kimo"  and  that  with  the  nasal  grunt  or  hum  refrain, 
along  with  a  few  other  forms  and  two  with  no  refrain  indicated. 
Texts  A-C  have  the  "kimo"  refrain  in  some  form,  texts  D-W  have 
the  hunnned  refrain.  The  'Kitty  Alone'  song,  often  reckoned  as  a 
form  of  'The  Frog's  Courtship,'  occurs  but  once  in  our  collection 
and  has  no  mouse  and  no  courtship,  is  indeed  merely  a  lovely  lullabv, 
,111(1  is  therefore  presented  as  a  separate  item.  Sam  Cowell's  adapta- 
tion of  'The  Frog's  Courtship'  to  the  blackface  minstrel  fashion  of 
a  hundred  years  ago,  and  an  American  memory  of  it,  are  considered 
here  in  an  appendix. 

A 

'.■\    I'rog   Went   .A-Courtin'.'      Reixirted   liy   Flossie    .Marslibanks   of   Mars 
Hill,   Madison  county.     Not  dated. 


LULL  A  1!  1   1".  S      A  \  I)      N   V  R  S  I'.  K  V      K   H  Y  M  E  S  155 

1  Vvog  went  a-courtin'  and  he  did  ride, 

Ring  ting  bottom  and  a  kynio 
Sword  and  pistol  by  his  side. 
Ring  ting  bottom  and  a  kymo 

Clionts: 

Hello  naro  he's  my  caro. 

Hello  caro  narrow. 

Ring  ting  bottom  ditty  boat  aroun(l 

Ring  ting  bottom  and  a  kymo.' 

2  Rode  up  to  Miss  Mousie's  house. 
Asked  Miss  Mousie  to  be  his  wife. 

3  Where  shall  the  wedding' supper  l)e? 
\\'ay  down  yonder  in  the  hollow  tree. 

4  What  shall  the  wedding  supper  be? 

A  plate  of  butter  and  a  black-eyed  pea. 

5  The  first  came  in  was  a  butterfly. 
With  her  pudding  and  her  pie. 

6  Next  came  in  was  a  bumblebee. 
With  his  fiddle  on  his  knee. 

7  Next  came  in  was  a  crippled  flea ; 
Danced  all  night  for  the  bumblebee. 

8  Next  same  in  was  a  yellow  cat. 
Seized  ^liss  Mousie  by  the  back. 

B 

'Frog  Went  A-Courting.'  Reported  by  D.  W.  Newsom  as  learned  "at 
his  mother's  knee"  in  Littleton,  Halifax  county,  about  1885-90.  With 
the  tunc.  The  refrain  is  an  interpolated  line  and  then  a  four-line  part, 
as  in  A. 

1  Frog  went  a-courting  and  he  did  ride. 
Rain  down  bonny  mish  ki-me-oh 
Sword  and  buckler  by  his  side. 

Rain  down  bonny  mish  ki-me-oh. 
Kero  kiro  gilt  and  garo 
Kero  kiro  karo 

Rap  Jack  penny  winkle  flammydoodle  yellow  buckle 
Rain  down  bonny  mish  ki-me-oh. 

2  He  rode  down  by  the  mill  side  door 
To  hear  his  saddle  squeak  and  rf)ar. 

'  The   refrain   line   is   thus    interpolated   in   and   the   cliorus   sung   after 
each  stanza. 


1  =6  NORTH  CAROLINA  FOLKLORE 


3  He  rode  down  to  Lady  Mouse's  house. 
The  old  Miss  Mouse  was  not  at  home. 

4  The  old  mouse  came  home  at  last. 
Shook  her  big  fat  sides  and  laughed. 

5  He  took  Miss  Mousie  on  his  knee: 
■Prav.  Miss  Mousie.  will  you  marry  me?' 

6  'Who  will  make  the  wedding  gown?" 
'Old  Miss  Rat  from  pumpkin  town.' 

7  'Where  will  the  wedding  breakfast  he?' 
'Way  down  yonder  in  a  hollow  tree.' 

8  'What  will  the  wedding  supper  be?' 
'A  fried  mosquito  and  a  roasted  flea.' 


'One  Two  Three."  From  Thomas  Smith.  Ziunville,  Watauga  county, 
as  sung  by  Mrs.  Julia  Grogan  in  March  1913.  "She  says  it  was  sung 
when  she  was  a  child,  over  forty  years  ago."  It  lacks  the  first  part  of 
the  story. 

1  Mrs.  Mousey  went  to  town 

Tim  a  rang  tang  l)ottom  a  my  kimo 
To  buy  her  niece  a  wedding  gown. 

Chorus: 

Tim  a  rang  tang  bottom  tim  a  kimo  come  a  nedro 
Keep  my  caro  turn  a  turn  bum  stumpy  tum  dido  bodey 
Round  tim  a  rang  tang  bottom  a  my  kimo. 

2  'Where  will  the  wedding  supper  be  ?" 
'Way  down  yonder  in  a  hollow  tree.' 

3  'What  will  the  wedding  supper  be?' 
'Two  blue  beans  and  a  l)lack-eyed  pea.' 

4  First  come  in  was  Mrs.   \'\y. 

She  brought  her  peaches  and  her  ])ie. 

5  Next  come  Mrs.  Ikitterfly. 

She  fanned  all  as  she  passed  by. 

6  Next  come  in  was  .Madam  Cat. 
.She  took  -Miss  Mousf\'  1)\'  the  back. 


'Frog  Went  .\-Courting.'  Reported  liy  K.  1'.  Lewis  as  set  down  in 
igio  by  Dr.  Kemp  P.  Battle  of  Chapel  Hill.  Each  stanza  is  a  couplet 
e.xtended  to  three  lines  l)y  reixating  the  first  line,  and  the  nasal  hum 
comes  after  tlu-  first  and  third  lines  of  each  such  stanza. 


L  U  L  L  A  n  I  K  S      A  N  I)      X   T  R  S  K  K  V      K  H  Y  M  E  S  157 

1  Frog  went  a-courtin'.  he  did  ride,  M-ni  11 -ni 
Frog  went  a-courtin".  he  did  ride. 

Sword  and  pistol  by  his  side,  M-ni  11-ni 

2  lie  rode  to  Mistress  Mousie's  hall; 
There  he  knocked  and  loudly  called. 

3  "Miss  Mousie.  are  you  within?' 
"Yes.  kind  sir,  I  sit  and  spin.' 

4  Me  took  Miss  Mousie  on  his  knee  : 
'Miss  Mousie,  will  you  marry  me?' 

5  "Oh  no.  kind  sir.  I  can't  say  that 
Without  the  consent  of  old  Uncle  Rat.' 

6  ( )ld  Uncle  Rat  came  a-riding  lK)me. 
"Who's  been  here  since  Fve  been  gone?' 

7  'A  very  tine  gentleman  has  been  here 

Who  says  he'll  marry  me  if  you  don't  care.' 

8  Old  Uncle  Rat  laughed  and  shook  his  fat  side 
To  think  his  niece  should  bt-  a  bride. 

9  'Where  shall  the  wedding  supper  be?' 
'Wav  down  yonder  in  the  old  hollow  tree.' 

10  'What  shall  we  have  for  the  wedding  supper?' 
"Black-eyed  peas  and  bread  and  butter.' 

1 1  The  first  came  in  was  Capt.  Bedbug, 
Who  swore  by  all  he  was  a  run^  jug. 

12  The  next  came  in  was  Colonel  Mea ; 
He  danced  a  jig  wMth  a  bumblebee. 

13  And  while  they  all  were  eating  supper 

In  came  the  cat  and  made  a  great  splutter. 

14  The  first  he  pursued  was  old  Uncle  Rat, 
And  threw  him  down  and  spoiled  his  fat. 

15  The  next  he  pursued  was  Miss  Mousie; 
But  she  ran  up  a  hollow  tree. 

16  The  frog  he  swam  across  the  lake 

And  got  swallowed  up  l)y  a  big  black  snake. 

17  This  is  the  end  of  one.  two,  three. 
Frog  and  Rat  and  Miss  Mousie. 

^  So  the  manuscript.     Proba))ly  it  should  be  "rum." 


158  NORTH     C  A  R  O  L  1  X  A     !•  0  L  K  L  0  R  E 

E 
'Frog    Went    A-Courting.'      Contributed    hy    Miss    Amy    Henderson    of 
Worry,  Burke  county,  in  1914.     Refrain  and  stanza  structure  as  in  D  and 
corresponds  in  i)art  to  that  version,  but  lacks  stanzas  6-7  of  D  and  has 
more  formal  manners  in  stanza  4 : 

Down  upon  his  knee  fell  he ; 

Says  he,  'Miss  Mousie,  will  you  marry  me?' 
In  stanza  5  she  tells  him  that 

Not  without  Uncle  Rat's  consent 

Would  I  marry  the  President. 
The  list  of  guests  and  the  outcome  of  the  party  are  different: 

9  The  hrst  to  come  in  was  the  humhlehee 
With  his  fiddle  on  his  knee. 

I  o     The  next  come  in  was  a  great  hig  flea ; 

He  said,  'Dance  with  the  humhlehee.' 

I I  Next  to  come  in  was  Major  Tick, 
Who  ate  so  much  it  made  him  sick. 

12  Then  they  sent  for  Dr.  Fly, 

Who  swore  l)y  George  old  Tick  would  die. 

13  They  all  went  sailing  down  the  lake 

And  were  swallowed  up  by  a  great  hig  snake. 

14  That's  the  end  of  one,  two.  three, 

The  rat  and  the  mouse  and  little  froggie. 

F 

'Frog  Went  A-Courting.'  Reported  I)y  Miss  Gertrude  Allen  (later 
Mrs.  Vaught)  from  Oakboro,  Stanly  county.  C'lose  to  E  through  the 
first  nine  stanzas,  but  inserts  after  stanza  5 

Uncle  Rat  he  went  down  town 
To  I)uy  his  niece  a  wedding  gown. 
The  account  of  the  wedding  party,  however,  is  different: 

10  T'^irst  came  in  was  a  little  seed  tick; 
It  ate  so  much  it  made  it  sick. 

I  I      Next  came  in  was  a  hig  black  snake; 
lie  ate  up  all  the  wedding  cake. 

I J     Next  came  in  was  a  little  fat  pig; 
Thought  he'd  have  a  little  jig. 

13  Lady  Mouse  came  a-tripi)ing  down; 
She  fell  over  her  wedding  gown. 

14  Then  Frog  came  a-swimming  across  the  lake. 
He  got  swallowed  by  a  big  black  snake. 


LULL  A  1!  1  K  S     A  X  I)     N  U  K  S  K  R  Y     RHYMES  1 59 


'Froggy   Went    A-Courtin'.'      Contributed    by    I.    T.    Poole    from    Burke 
county.     A  somewhat  reduced  version. 

1  l*roggy  went  a-courtin'  and  he  did  ride  nniph-luiinph 
l">uggy  went  a-courtin'  and  he  did  ride. 

Sword  an  pistol  hy  his  side  uniph-humph. 

2  Rode  down  to  Miss  Mousie's  den  : 
'Say,  Miss  Mousie,  are  you  within?' 

3  'Yes.  kind  sir,  I'm  sitting  to  spin  ; 
Pull  the  string  and  you'll  come  in.' 

4  He  took  Miss  Mousie  on  his  knee: 
'Say,  Miss  Mousie.  will  you  marry  me?' 

5  'Who  shall  the  wedding  waiters  he?' 
'Miss  Grasshopper  and  Captain  Flea.' 

6  'Where  shall  the  wedding  supper  he?' 
'Away  down  yonder  in  a  hollow  tree.' 

7  'What  shall  the  wedding  supper  be?' 
'Three  green  beans  and  a  black-eyed  pea.' 


'Frog  Went  A-Courting.'  Reported  by  P.  D.  Midgett  of  Wanchese, 
Roanoke  Island,  in  1920,  as  writen  down  for  him  by  a  friend.  First 
seven  stanzas  as  in  E  except  that  stanza  4  runs  : 

'Say.  Miss  Mouse,  will  you  marry  me. 

And  live  over  yonder  in  a  hollow  tree  ?' 

The  remaining  nine  stanzas  introduce  some  new  figures  : 

8  'What  shall  the  wedding  supper  be?' 
'A  cup  of  tea  and  a  black-eyed  pea.' 

9  First  came  in  was  little  moth. 
Bringing  in  the  tablecloth. 

10  Next  came  in  was  a  great  big  snake, 
Bringing  in  the  wedding  cake. 

11  Next  came  in  was  a  little  louse, 
Bringing  in  a  j^late  of  souse. 

12  Next  came  in  was  a  great  big  tick. 
Walking  around  with  a  hickory  stick. 

13  Next  came  in  was  a  l)unil)lel)ee. 
Took  a  jig  with  a  broken-back  flea. 


l6o  N  ()  K  T  H     CAROLINA     FOLKLORE 

14  Next  catne  in  was  a  little  sea  tick,^ 
Eat  so  much  it  made  him  sick. 

1 5  Had  to  send  for  Dr.  Fly. 

Thought  to  my  Lord  that  tick  would  die. 

16  Old  gray  goose  she  swam  the  lake. 
She  got  hit  hy  a  great  hig  snake. 

I 

'Frog  and  tlie  Mouse.'  From  a  notebook  of  Mrs.  Harold  Glasscock  of 
Kalcigli,  lent  to  Dr.  White  in  1943,  in  whicli  Mrs.  Glasscock  had  set 
down  s(jngs  she  had  learned  from  her  parents.  Much  like  D,  but  has 
a  preliminary  stanza : 

Gentleman  frog  lived  in  the  well  em  hu 
Gentleman  frog  lived  in  the  well, 
Lady  mouse  lived  in  the  mill  em  hu. 

The  mouse's  answer  to  Uncle  Rat  sounds  coy  : 

'Who's  been  here  since  Lve  been  gone?" 
'There  was  a  tall,  nice  young  man, 
Gentleman  Frog  was  his  name." 

The  price  Uncle  Rat  pays  for  the  wedding  gown  is  given  : 

What  do  you  reckon  he  paid  for  it  ? 
Nine  dollars  and  a  bit. 

The  conclusion  presents  some  new  figures  : 

12  First  came  down  was  a  bumblebee, 
Timing  a  fiddle  on  his  knee. 

13  Next  came  down  was  a  little  seed  tick 
Dancing  a  jig  with  a  hickory  stick. 

14  Next  came  down  was  a  butterfly; 

She  fanned  the  company  as  she  went  by. 

15  Next  came  down  was  the  pussy  cat. 

She  caught  Miss  Mousie  and  then  ran  back. 

16  Mr.  Frog  jumped  in  the  lake 

And  there  was  swallowed  by  a  big  black  snake. 

17  Big  black  snake  swam  to  the  land 

And  there  was  killed  by  a  little  nigger  man. 

18  Little  nigger  man  went  off  to  sea; 
And  that's  the  end  of  my  story. 

'  Miswrittcn  no  doubt  fur  "seed  tick,"   wliicli  occurs  in   F  and   I. 


L  L'  L  I,  A  H  1  K  S     A  N  U     N  V  1<  S  K  K  Y      K   II   V  M   K  S  l6l 

J 
'Frog  Went  A-Courtiiig.'    Contributed  l)y  Miss  Marj^aret  Higgs  of  Green- 
ville,   Pitt    county.      Fourteen    stanzas,    introducing    nothing    not    already 
presented  in  the  preceding  versions  except  a  junel)ug.     It  ends: 

13  The  iH'xt  to  come-  in  was  the  little  Jtine  15 tig  ; 

He  jumped  in  the  fi(X)r  and  gave  the  hricle  a  luig. 

14  Mr.  Ffug  gut  mad  and  jtimped  in  the  lake 
.And  there  he  got  hit  hy  a  hig  hlack  snake. 

K 

'Frog  Went  A-Courting.'  From  Mrs.  Sutton,  who  says  she  has  heard 
it  in  Caldwell,  Mitchell,  .Avery,  Watauga,  Henderson,  and  Bunconil)e 
counties,  and  gives  a  Caldwell  version  of  eight  stanzas  as  she  learned 
it  from  her  grandmotlier.  The  wedding  supper  here  becomes  an  'infair 
supper,'  and  the  flea  dances  a  jig  with  the  bumblebee. 

L 

'A  Woodman's  Song.'  Reported  by  Julian  P.  Boyd  as  obtained  from 
Minnie  Lee,  one  of  his  pupils  in  the  school  at  Alliance,  Pamlico  county, 
in  1927.  Six  stanzas,  of  which  the  first  is  the  same  as  stanza  i  of  D 
and  the  second  the  same  as  stanza  4  of  S  (except  that  the  refrain  is 
spelled  "Humph"  instead  of  "Ah-ha").  The  other  four  stanzas  (the 
last  of  which  is  an  intruder  from  the  body  of  floating  bird  and  animal 
jingles)   are  as  follows: 

3  'Say.  Miss  Mouchy,  where  will  we  he?' 
'We'll  bttild  our  house  in  a  hollow  tree.' 

4  'Say,  Miss  Mouchy,  what  shall  we  eat?' 
'Two  big  hams,  bread  and  meat.' 

5  'Say,  Miss  Mouchy.  where  shall  we  lie?' 
'Between  the  wheat  straws  and  the  rye.' 

6  Jay  bird  died  with  the  whoopingcough. 
'Long  come  de  bird  with  his  tail  bobbed  off. 

M 

'Frog  Went  A-Courting.'  Reported  by  Jesse  T.  Carpenter  from  Dur- 
ham county.     Ten  stanzas,  the  last  three  of  which  run: 

8  The  next  one  was  a  big  black  bug. 
He  came  in  dragging  a  jug. 

9  Then  came  in  the  practice  goose. 
She  had  a  hddle  and  she  cut  loose. 

10     Thev  all  went  swimming  down  the  lake. 

And  all  were  swallowed  bv  a  big  blacksnake. 


'Frog    Went    A-Courting.'      Reported   by   James    .\.    McKay,    student    at 
Trinity  College,  as  sung  in  New  Hanover  county.     Five  stanzas,  giving 

X.r.I-".,  Vol.  III.  11:0 


l62  NORTH      CAROLINA      FOLKLORE 

only  tlie  first  part  of  the  song.  The  bride  was  dressed  in  "green  pea 
sHppers  and  a  big  brass  breastpin"  and  they  had  for  supper  "black-eyed 
peas  and  dog-foot  liutter." 

O 

'Frog  Went  A-Courting.'  Obtained  from  Miss  Lura  Wagoner  of  Vox, 
Alleghany  county,  in  1921.  Ten  stanzas,  not  differing  significantly  from 
E  except  that  the  latter  part  is  reduced  to  two  stanzas  : 

9     The  first  to  come  in  was  the  humhle])ee 
With  his  fiddle  on  his  knee. 

I  o     The  next  to  come  was  a  great  big  flea ; 
He  said,  "Dance  with  the  l)umblebee.' 

p 

'Frog  Went  A-Courtin'.'  Reported  by  Sarah  K.  Watkins  as  known  in 
Anson  and  Stanly  counties.  Only  four  stanzas,  corresponding  to  stanzas 
I,  2,  9,  10  of  D. 

Q 

'Frog  Courtship.'  From  Mrs.  Nilla  Lancaster,  Wayne  county.  Eleven 
stanzas.  No  element  not  already  given  in  one  or  another  of  the  preced- 
ing texts  except  at  the  close,  which  runs  : 

Frog  went  a-floating  down  the  brook. 
He  got  caught  by  the  fisherman's  hook. 

R 

No  title.  Reported  by  Alinnie  S.  Gosney  as  known  in  Raleigh  and  Wake 
county.  Here  the  stanza  structure  is  different;  the  "uhuh"  refrain  comes 
only  at  the  end  of  the  couplet.  The  story  is  disarranged;  it  begins  with 
the  wedding  party. 

1  I^^irst  came  in  was  a  bumljle-bee ; 
Stung  Miss  Mousie  on  the  knee. 

Uhuli  uliuh 

2  Next  came  in  was  Mr.  Tick ; 
Ate  so  much  it  made  him  sick. 

3  Had  to  send  for  Dr.  Fly. 

And  he  swore,  by  gosh,  Air.  Tick  woidd  die. 

4  Mr.  b'roggie  rode  by  Miss  Mousie's  den; 
Says  he.  'Aliss  Mousie.  are  you  within?' 

5  Took  Miss  Mousie  on  his  knee; 

Says  he.  'Miss  Mousie,  will  \du  marry  me?' 

6  Mr.  I'Vcjggie  went  U)  town 

To  buy  Miss  Mousie's  wedding  gowiL 

7  Mr.  Froggie  went  by  the  lake. 

There  he  was  swallowed  u])  b\-  a  big  black  snake. 


L  r  I.  L  A  H  1   I".  S      A  N  I)      N  U  K  S  K  K  V      K   II   Y  M  E  S  1 63 

8  That  snake  swum  to  shore. 

A  big  black  negro  killed  hiui  there. 

9  That  big  black  negro  lias  gone  to  h^-ance 
To  teach  the  negroes  how  to  dance. 

10     Now  1  lay  my  book  on  the  shelf ; 

If  you  want  any  more,  you  can  sing  it  yourself. 

S 
'Frog  Went  A-Courting.'  Contributed  by  Mrs.  A.  J.  Ellis  of  Raleigh. 
Eighteen  stanzas.  The  refrain  here  (at  the  end  of  tlie  first  and  third 
lines  of  each  stanza,  as  in  D)  is  written  "Ah-ha."  but  this  is  doubtless 
just  a  variant  writing  of  the  usual  hum  or  grunt.  Otherwise  the  text 
is  substantially  the  same  as  D. 

T 
'A   Frog  Went  A-Courting.'     Obtained  by   Professor  James   F.   Royster 
at  Chapel  Hill  in  191 5  from  William  C.  Doubkin.  student  at  the  Univer- 
sity of  North  Carolina.     Five  stanzas,  ending  with 

•What  will  the  wedding  supper  be?' 
'A  slice  of  toast  and  a  cup  of  tea,' 
and  the  notation  "I  do  not  recall  more." 

U 
'A  Frog  Went  A-Courting.'     From  James  A.   McKay.     A  variant   form 
of  N.     Here  the   refrain  comes  after  each   line,   not  only  after   the   first 
and  third— at  least,  so  the  manuscript  is  written.     Fur  example  : 

Frog  went  a-courting,  he  did  ride  uh  huh 
Frog  went  a-courting.  he  did  ride  uh  huh 
Sword  and  pistol  by  his  side  uh  huh 

Went  down  to  Lady  Mouse's  hall  uh  huh 

Went  down  to  Lady  Mouse's  hall  uh  huh 

Gave  a  loud  knock  and  loud  he  called  uh  huh 
etc. 
The    form   of    the    wooing    dialogue    is    slightly    different    from    that    in 
preceding  versions  : 

'Old  lady  mouse,  will  you  marry  me?' 

'Yes,  kind  sir,  but  you  frighten  me.' 

V 
'Mr  Frog  Went  A-Courting.'  From  Miss  Mamie  E.  Cheek  of  Durham. 
.A.n  unusually  full  form,  eighteen  stanzas.  When  Uncle  Rat  asks  "Who's 
been  here  since  I've  been  gone?"  Miss  Mousie  replies  "A  very  nice 
fellow  all  dressed  in  brown,  the  very  nicest  fellow  in  town."  The  wed- 
ding guests  are  a  bumblebee,  a  little  moth,  "a  big  black  spider  who 
walked  up  the  aisle  and  sat  down  beside  "er,"  a  little  brown  flea,  a  big 
green  snake,  a  little  tick— who  dies  despite  the  ministrations  of  Dr.  Fly. 
The  bride  and  groom  march  in  and  "They  jumped  over  the  handle  of 
the  broom."  A  "broomstick  marriage"  is  an  illegal  or  mock  marriage. 
See  NED  under  broomstick. 


1 64  NORTH  CAROLINA  FOLKLORE 

W 

'Frog  Went  A-Courting.'  From  Lida  Page  of  Durham  county.  This 
is  in  the  collection  in  two  forms,  one  with  the  normal  hummed  refrain 
as  in  D.  the  other  with  the  hum  after  each  line  of  the  four-line  stanza, 
tlius  : 

Frog  went  a-coiirting  and  he  did  ride  tih  tih 

F"rog  went  a-courting  and  he  did  ride  nh  tih 

Frog  went  a-courting  and  he  did  ride  uh  uh 
Sword  and  pistol  by  his  side  uh  huh 

The  flea  is  crippled  yet  danced  all  night  with  the  bumblebee ;  the  cat 
is  yellow. 

X 

'Frog  Went  .\-Courting."  From  Miss  Isabel  B.  Busbee  of  Raleigh,  as 
sung  by  her  great-aunt  Miss  Louisa  Nora  Taylor.  Marked  by  a  refrain 
that  I  have  not  found  elsewhere.     Nine  stanzas.     Begins 

Mr.  Frog  a- wooing  rides 
Linctim  lee  lincum  loddy 
With  sword  and  pistol  by  his  sides 
Fddlin  dav  fodlin  doddv. 


'Froggie  Went  A-Courting.'  A  second  te.xt  reported  by  Mrs.  Vaught 
(see  F),  this  one  from  Taylursville,  Alexander  county.  The  first  four 
•Stanzas  only.  Has  neither  the  "kimo"  nor  the  hummed  refrain  but  a 
"clinrus,"  sung  apparently  after  each  stanza: 

Plot,  plot,  plot,  plot. 

Z 

No  title.  Contributed  by  Allie  Ann  Pearce  of  Colerain,  Bertie  county. 
No  refrain  is  indicated.  The  text  differs  in  other  respects  from  the 
others  in  tine  collection. 

1  .\  frog  he  would  a- wooing  go 

Whether  his  niotlier  would  let  him  or  not. 
So  off  he  started  with  his  opera  hat. 
And  on  the  way  he  met  with  a  rat. 
'Pray,  Mr.  Rat,  will  you  go  with  me 
Kind  Miss  .Mousy  for  to  see?' 

2  Thev  soon  arrived  at   Mousy's  hall; 

They  gave  a  loud  knock  and  gave  a  loud  call : 
'Pray,  Mis.s  .Nhmsy,  will  vou  give  us  some  beer? 
Froggie  and  1  are  fond  of  good  cheer.' 

3  .\s  they  were  having  a  merry  time 

The  cat  and  her  kittens  came  tumbling  in. 
The  cat  she  seized  the  rat  by  the  crown. 
The  kittens  they  pulled  little  mousie  down. 


L  V  1.  1.  A  i;  1  K  S      A  \  1)      \   V  K  S  K  R  Y      U  H   V  M   K  S  165 

The  frog  was  in  a  k'rrihlt'  fright  ; 

He  picked  up  his  hat  and  hade  them  gdochiis^ht. 

4     As  tix)ggy  was  crossing  a  sihery  hrook 
A  lily  white  duck  came  and  gohhied  him  up. 
So  this  was  the  end  of  one,  two,  three. 
The  frog,  the  rat,  and  the  little  mousie. 

AA 

Xo  title.     From   Valeria  Johnson   Howard,   Roseboro,    Sampson   county. 
A  reduced  form  of  four  stanzas.     No  refrain  indicated. 


APPENDIX 

About  a  hundred  years  ago,  when  blackface  minstrelsy  was  as 
much  the  fashion,  in  England  scarcely  less  than  in  the  United  States, 
as  hot  jazz  is  now  in  this  country,  a  famous  comic  singer,  Sam 
Cowell — London  born,  but  he  started  his  career  in  America — turned 
the  "kimo"  refrain  to  the  purposes  of  minstrelsy  in  a  nonsense  song 
about  South  Carolina  Negroes.  The  song  was  brought  to  this  coun- 
try and  became  in  a  sort  traditional ;  at  least  it  underwent  the 
changes  due  to  oral  transmission.  At  the  request  of  Miss  Adelaide 
L.  Fries,  Miss  Lucy  Logan  Desha  of  Winston-Salem  copied  out 
from  Harold  Scott's  English  Song  Book  Cowell 's  song,  with  the 
music  (see  vol.  IV).  Clearly  a  derivative  of  Cowell's  song  is  the 
following,  reported  by  Miss  Fries  as  obtained  from  Miss  Etta 
Shaffner,  who  learned  it  from  her  mother.  As  will  be  seen,  it  has 
hardly  more  of  'The  Frog's  Courtship'  than  the  refrain.  For  its 
occurrence  elsewhere  in  this  country,  see  White's  notes,  ANFS 
175-6,  and  Randolph,  OFS  ii  362-5.  Mrs.  Steely  found  one  stanza 
and  chorus  in  Wake  county. 

'Kitchie  Ki-Me-0.' 

I      \\  ay  down  south  where  the  niggers  grow, 
Sing  song  kitchie  kitchie  ki-me-o. 
That's  where  the  white  folks  plant  their  tow, 
Sing  song  kitchie  kitchie  ki-me-o  ; 
They  cover  the  ground  all  over  with  smoke. 
Sing  song  kitchie  kitchie  ki-me-o. 
Up  the  darkies'  heads  they  poke. 
Sing  song  kitchie  kitchie  ki-me-o. 

Chorus: 

Ke-mo.  ki-mo.  da-ro-ar, 

Me-he,  me-hi,  me-ho ; 

In  come  .Sallie  singing  sometime  ])enny-winkle  linktnm 

nipcat 
Sing  song  kitchie  kitchie  ki-me-o. 


l66  NORTH     CAROLINA     FOLKLORE 

2  There  was  a  frog  lived  in  a  pool, 
Sure  he  was  the  biggest  fool ; 

l^'or  he  could  laugh  and  he  could  sing 
And  make  the  woods  around  him  ring. 

3  Milk  in  the  dairy  nine  days  old. 
Frogs  and  skeeters  gittin'  mighty  hold. 
1  tried  to  sleep  but  'tain't  no  use. 

So  I  hung  my  legs  for  the  chickens  to  roost. 

Tlie  followinij-  is  clearly  another  ineniory  of  the  same  song. 

'Keemo  Kinid."  RcpMrted  by  S.  M.  Davis  of  White  Hall  near  the  Neuse 
River  as  a  nursery  rhyme  "sung  by  an  old  Negro  of  ours." 

Milk  in  the  dairy  nine  days  old. 
Sing  a  song.  Kitty  can't  you  climbo 
Frogs  and  skeeters  getting  mighty  bold, 
Sing  a  song.  Kitty,  can't  you  climb-e-o. 

Chorus: 

Clemo.  climbo,  dario.  clash, 

To  my  high,  to  my  low, 

In  come  Sally  Winkle  sometimes 

Penny  Winkle  limpturn  nip  cat. 

Sing  a  song  Kitty  can't  you  climb-e-o. 

And  so  is  this,  reported  by  Elsie  Doxey  of  Currituck  county.  The 
first  stanza  of  it  has  been  found  also  in  Florida  (SFLQ  viii  183) 
and  in  the  singing  of  Negroes  ( Talley  30),  with  only  a  faint  echo 
of  the  kimo  chorus. 

Sweetest  little  girl  in  the  county  O, 
Mammy  and  daddy  Ixjth  said  so. 
Kitchy  kitchy  kitchy  kime-o 
Kime-o  kime-o 
Kitchv  kitchy  kitch\'  kime-o. 

Milk  in  the  dairy  nine  days  old 


Kitchy  kitchy  kitchy  kime-o 

Kime-o  kime-o 

Kitchv  kilcln-  kitcln-  kime-o. 

I  Jl 
l')ll.l.^•   P)OV 


This  old  English  nursery  song  is  very  widely  known.  See  BSM 
4()().  and  add  to  the  references  there  given  Rinibault's  Nursery 
h'hvmcs  .^2-3,  and    for  this  cmnitry  X'irginia    (  h"S\'    i<).V.^).   Indiana 


L  V  L  L  A  I!  1   I".  S      A  N  1)      XI'  R  S  I".  K  Y      R  H  Y  M  E  S  1 67 

(^Woltord  24.  a  play-party  suiis^  ) ,  Arkansas  (OFS  i  392-3),  and 
Missouri  (OFS  1  391-2,  ^^'•j^^).  Tlierc  are  forty-seven  texts  of  it 
in  our  collection,  coverinj^  all  parts  of  the  state  from  Nag's  Head 
on  the  Banks  to  the  western  mountains.  The  ([uestions  asked  vary, 
thouijh  some  of  them,  especially  "Can  she  make  a  cherry  pie?"  are 
fairly  persistent.  Instead  of  .i,nving-  all  the  texts  it  will  be  sufficient 
to  print  a  few  of  the  fuller  versions;  hut  a  listing  here  of  the  (jues- 
tions  asked  will  give  an  idea  of  the  range  of  interest  involved.  In 
all  of  the  texts  taken  together  twenty  questions  are  asked.  They 
all  begin  with  "Where  have  you  been?"  Five  of  them  concern  the 
person  of  the  "wife":  How  old  is  she?  How  tall  is  she?  Are  her 
eyes  very  bright?  Is  she  worth  anything?  What  is  her  name? 
A  larger  number  deal  with  her  housewifely  qualities:  Can  she  sweep 
up  the  floor?  Can  she  make  a  feather  bed?  Can  she  make  a  loaf 
of  bread?  Can  she  make  a  clierry  pie?  Can  she  knit,  can  she 
sew?  Can  she  make  a  cup  of  tea?  Can  she  make  a  pudding  well? 
Can  she  make  a  man  a  shirt?  Others  look  to  the  wedding:  Do 
you  think  she  loves  you  well?  Will  her  mother  give  her  up?  Is 
she  titten  for  a  wife?  Have  you  set  the  wedding  day?  Still  others 
constitute  a  sort  of  reverse  of  'The  Old  Man's  Courtship' :  Did  she 
ask  you  in?  Did  she  ask  off  your  hat?  Did  she  give  you  a  seat 
(set  for  you  a  chair)  ?  Did  she  bid  you  to  come  back?  And  one 
text  (contributed  by  Mrs.  Vaught  from  Alexander  county)  has  a 
question  reflecting  an  interest  in  her  respectability:  Does  she  often 
go  to  church  ?  To  which  the  answer  is :  Yes,  she  goes  to  church 
and  wears  a  bonnet  white  as  perch.  The  answers  to  the  questions 
vary  slightly  from  text  to  text  but  not  significantly.  To  the  question 
about  her  age  the  answer  is  always  a  nonsense  rigmarole — perhaps 
implying  that  it  is  none  of  the  (juestioner's  business. 

Here  are  three  of  the   fuller  versions.     Most  of  the  texts  have 
only  four  or  five  stanzas. 

A 

'Charming  Billy.'  Contributed  by  Miss  Amy  Henderson  of  Worry,  Burke 
county,  ill  1914. 

1  'Where  have  yoti  been.  Billy  boy,  Billy  boy, 
Where  have  yoti  been,  charming  Billy?' 

"I've  been  seeking  me  a  wife,  she's  the  comfort  of  my  life; 
She's  a  yoting  thing,  and  cannot  leave  her  mother.' 

2  'Did  she  ask  ycni  to  come  in,  Billy  boy,  Billy  boy. 
Did  she  ask  yoti  to  come  in,  charming  P)illy  ?' 

'Yes,  she  asked  me  to  come  in  ;  she's  a  dimi)le  in  her  chin. 
She's  a  young  thing,  and  cannot  leave  her  mother.' 

3  'Did  she  bid  you  ha\e  a  chair,  liilly  boy.  Billy  boy. 
Did  she  bid  yoti  have  a  chair,  charming  I'illy  ?' 

'Yes,  she  bade  me  have  a  chair;  she  has  ringlets  in  her 

hair. 
She's  a  young  thing,  and  cannot  leave  her  mother.' 


l68  X  ()  R  T  II      C    A  K  O  L  I  X  A      I-  O  L  K  L  0  R  E 

4  'Can  she  make  a  cherry  pie.  Billy  boy,  Billy  boy, 
Can  she  make  a  cherry  pie,  charming  Billy  ?' 

'Yes,  she  can  make  a  cherry  pie  quick  as  a  cat  can  wink 

its  eye. 
.She's  a  young  thing,  and  cannot  leave  her  mother.' 

5  'Can  she  make  a  pudding  well,  Billy  boy,  Billy  boy. 
Can  she  make  a  pudding  well,  charming  Billy?' 

'Yes,  she  can  make  a  pudding  well,  you  can  tell  it  by  the 

smell. 
.She's  a  voung  thing,  and  cannot  leave  her  mother.' 

0  "Did  she  bid  you  to  come  back,  Billy  boy,  Billy  boy, 
Did  she  bid  you  to  come  back,  charming  Billy  ?' 

'Yes.  she  bade  me  to  come  back,  after  giving  me  a  smack. 
She's  a  young  thing,  and  cannot  leave  her  mother." 

7     'lldw  old  is  she.  Billy  boy,  Billy  boy. 
How  old  is  she,  charming  Billy?' 
'She'll  be  fortv-four  next   fall,  and  she's  got  no  teeth  al 

all. 
She's  a  young  thing,  and  cannot  leave  her  mother.' 

B 

'Billy  Boy.'     From   Miss  Florence  Holton  of   Durham. 

1  'W  here  have  you  been.  Billy  boy.  Billy  boy. 
\\  here  have  you  been,  charming  Billy?' 

'1  have  been  to  see  my  wife,  she's  the  joy  of  my  life; 
.She's  a  young  thing,  and  can't  leave  her  mother.' 

_'     'Did  she  ask  you  in.  Billy  boy.  I'illy  boy. 
Did  she  ask  you  in,  charming  Billy?' 
'She  did  ask  me  in.  with  a  dimple  in  her  cliin  ; 
She's  a  young  thing,  and  can't  leave  her  mother.' 

3  'Can  she  make  a  cherry  i)ie.  i'illy  boy.  l>illy  boy. 
Can  she  make  a  cherry  pie,  charming  Billy?' 

'She  can  make  a  cherrv  pie  (|uick  as  a  cat   can   wink  his 
eye. 

She's  a  \'(iung  tiling,  and  can't  leave  lier  nidther.' 

4  'Did  she  set  for  \<n\  a  chair.  I'illy  boy.  Billy  boy. 
Did  she  set  for  you  a  chair,  charming  I'illy?' 

'.She  did  set  for  me  a  chair  with  a  ringlet  in  her  hair. 
She's  a  voung  thing,  and  can't  leave  her  mother.' 

5  '(an  she  make  a  feather  brd.  r>ill\-  boy.  I'illv  bov. 
Can  she  make  a  feather  bed.  charming  Billv?' 

'.She  can  make  a  feather  bed.  with  a  candle  on  her  head. 
She's  a  voung  thing,  and  can't   leave  her  mother.' 


h  V  L  I.  A  I!  I  K  S     A  N  I)     N  U  R  S  E  R  Y     RHYMES  169 

6  "How  tall  is  she,   l*>illy  hoy.  Billy  hoy, 
How  tall  is  she.  channing  IJilly  ?' 

'She's  as  tall  as  any  pine  and  as  thin  as  a  pumpkin  vine. 
She's  a  younj^-  tliin.i;-.  and  can't  leave  her  mother.' 

7  "Is  she  worth  anything.  IJilh-  hoy.  P)illy  boy, 
Is  she  worth  anything,  charming  Billy?' 

'She  is  worth  a  cow  and  a  calf,  and  a  dollar  and  a  half. 
She's  a  young  thing,  and  can't  leave  her  mother.' 

8  'What  is  her  name.  Billy  boy.  Billy  boy. 
\\  hat  is  her  name,  charming  Billy  ?' 

'Her  name  is  Susanna,  and  she  lives  in  Louisiana. 
She's  a  young  thing,  and  can't  leave  her  mother.' 

9  'How  old  is  she.  Billy  boy.  Billy  boy. 
How  old  is  she.  charming  l)illv  ?' 

'Twice  six.  twice  seven,  twice  twentv  and  eleven  ; 
She's  a  young  thing,  and  can't  leave  her  mother.' 

c 

'Billie   Boy.'      Reported   by    Gertrude   Allen    (later   Mrs.   Vaught)    from 
Oakboro,  Stanly  county.     Stanzas   i,  2,  and  4  as  in  A.     Stanza  3  runs  : 

'Did  she  give  you  a  seat.  Billy  boy,  Billy  boy. 

Did  she  give  you  a  seat,  charming  Billy?' 

'Yes,  she  gave  me  a  seat  and  a  piece  of  bread  and  meat. 

She's  a  young  thing  that  cannot  leave  her  mother.' 

.And  after  stanza  4  it  runs  as  follows  : 

5  'Can  she  make  a  loaf  of  bread.  Billy  boy.  Ijilly  boy. 
Can  she  make  a  loaf  of  bread,  charming  Billy?' 

'Yes,  she  can  make  a  loaf  of  bread  hard  as  any  negro's 

head. 
She's  a  young  thing  and  cannot  lea\e  her  mother.' 

6  "Can  she  make  up  a  bed.  P)illy  boy.  \V\\\\  bov. 
Can  she  make  up  a  bed.  charming  Billy?" 

'Yes,  she  can  make  up  the  bed.  fit  the  pillows  at  the  head. 
She's  a  young  thing  and  cannot  leave  her  mother.' 

7  'How  tall  is  she.  IJilly  boy.  Billy  l)oy. 
How  tall  is  she.  charming  Billy  ?' 

'She's  as  tall  as  a  rail,  slick  as  any  monkey's  tail. 
She's  a  young  thing  and  cannot  leave  her  mother.' 


IJO  NORTH  CAROLINA  FOLKLORE 

122 

Oh.  Dear.  What  Can  the  Matter  Be? 

Williams,  who  reports  this  from  Oxfordshire  (FSUT  201  ).  calls 
it  an  "old  morris  fragment."  It  has  been  found  in  Pennsylvania 
(NPIM  So),  Virginia  (FSV  197),  West  Virginia  (SFLQ  vi  252, 
as  a  play-party  song),  Kentucky  (DD  144-5).  ^ii^^  Mississippi 
(JAFL  XXVIII  169);  it  is  listed  in  Miss  Pound's  syllabus  for  the 
^lidwest  and  is  given  in  Ford's  Traditional  Music  of  America  and 
in  Heart  Songs.  Unquestionably  it  is  nmch  more  generally  known 
than  this  list  indicates. 

A 

'O  Dear,  What  Can  the  Matter  Be.'  Reported  by  K.  P.  Lewis  as  set 
down  in   1910  from  the  singing  of  Dr.  Kemp  P.  Battle  of  Chapel   Hill. 

1  Oh,  dear,  what  can  the  matter  be  ? 
Dear,  dear,  what  can  the  matter  be? 
Oh.  dear,  what  can  the  matter  be, 
Johnny's  so  long  at  the  fair  ? 

He  promised  to  bring  me  a  fair  ring^  to  please  me, 
And  then  for  a  kiss,  oh,  he  vowed  he  w^oiild  tease  me ; 
He  promised  to  bring  me  a  bunch  of  blue  ribbon 
To  tie  up  my  bonny  brown  hair. 

2  Oh,  dear,  what  can  the  matter  be  ? 
Dear,  dear,  w  hat  can  the  matter  be  ? 
Oh,  dear,  wdiat  can  the  matter  be. 
Johnny's  so  long  at  the  fair  ? 

lie  promised  to  bring  me  a  basket  of  posies, 
A  garland  of  lilies,  a  garland  of  roses, 
A  little  straw  hat  to  set  off  the  blue  ribbons 
That  lie  up  my  bonny  brown  hair. 

B 

'Oh  iJcar,  What  Can  the  .Matter  P>e?'  Cdmniunicated  liy  Lucille  Massey 
of  Durham.  Not  dated.  The  first  stanza  only ;  the  same  as  A  except 
that  it  has  the  old  word  "fairing"  instead  of  "fair  ring." 


123 

Taffy  Was  a  Wklshmax 

The  three  songs  entered  here  are  clearly  derived  from  the  familiar 
Mother  Goose  rhyme  about  the  thieving  Welshman.  What  appears 
to  he  a  Negro  version  of  the  first  of  the  three  has  been  reported 
from  Mississij)pi  (JAM.  xxvui  141),  and  of  the  second  from  Vir- 
ginia ( I'".SV  167,  TNFS  103);  and  the  first  stanza  of  our  B  cor- 
resjjonds  to  stanza  3  of  another  Virginia  song  (TNFS   166). 

'  This  is  a  misunderstanding  of  the  old  word  "fairing,"  a  present  from 
the  fair. 


L  U  L  L  A  B  1  K  S     AND     N  U  K  S  IC  U  \-      1<  U  V  M  K  S  I/I 

A 

'I  Went  Down  to  Suckie's  House.'  Communicated  by  Professor  M.  G. 
Fulton  of  Davidson  College,  in   1915  or  thereabouts. 

1  I  went  down  lo  Suckie's  hotise  to  i;el  a  ctip  of  tea. 
What  do  yoti  s'pose  old  Stickie  had  for  me? 
Chicken  feet,  sparrowgrass,  hominy,  and  tea. 

2  I  went  down  to  Stickie's  hou.se  and  fell  upon  mv  knees 
And  I  like  to  lau,i;h  myself  lo  death  to  hear  the  turkey 
sneeze. 

B 

'Napper.'  Contributed  in  191 4  by  C.  R.  Bagley  of  Moyock.  Currituck 
county,  as  a  fragment  of  vviiat  are  "known  among  the  Negroes  as 
breakdowns." 

1  Napper  come  to  my  house, 

I  th(jught  he  come  to  see  me. 
\\  hen  I  come  to  find  him  out 
He  'suade  my  wife  to  leave  me. 

Cliorus: 

Break  down,  Napper,  hoo,  hoo, 
Break  down,  Napper,  hoo. 

2  I  went  to  Napper's  house ; 
Ole  Napper  sick  in  hed. 

1  ruhbed  my  hand  across  his  head 
And  killed  ole  Napper  dead. 

3  Goose  chewed  tobacker. 
Duck  drinked  de  wine. 
Hog  played  de  cwards^ 
In  de  punkin  vine. 

c 
'Old  Napper.'     Contributed  by  P.cll  Brandon  of  Durham.     Not  dated. 

I      Napper  went  a-htintin' ; 

He  thought  he'd  catch  a  coon. 
And  when  his  old  dog  treed 
He  treed  a  mushy-room. 

Chorus: 

Poor  old  Napper,  hoodie  dinkey,  hoodie  dinkey. 
Poor  old  Napper,  hoodie  dinkey,  ha! 

'  So  in  the  manuscript.  One  supposes  it  should  be  "cyards."  witii  the 
familiar  Southern  breaking  of  the  vcjwel  after  palatals.  It  will  t)c  seen 
that  this  final  stanza  is  a  form  of  the  jingle  dealt  with  under  tlie  title 
'Get  Along,  John,  the  Day's  Work's  Done'  in  the  section  on  Bird  and 
Beast  Jingles. 


1  -z  X  O  K  T  H     t'  A  K  0  L  I  X  A     FOLKLORE 

2     Napper  come  to  my  house. 
I  thought  he  come  to  see  me. 
When  I  come  to  find  out 
He  was  persuadin'  my  wife  to  leave  me. 


124 

Barxyard  Song 


A 

'I  Bought  Ale  a  Hen.'  Reported  by  Mrs.  Sutton  with  the  following  com- 
mentary :  "This  is  an  old  English  folk  song  that  is  found  all  over  the 
North  Carolina  mountains.  It  is  sung  for  the  'least  un'  and  the  children 
love  it.  I  first  heard  it  sung  by  an  old  lady  who  was  a  friend  of  my 
mother's  and  who  lived  in  the  upper  end  of  Caldwell  county  near  Blow- 
ing Rock.  Her  name  was  Miss  Mary  Ann  Webster.  ...  I  have  heard 
this  song  in  every  county  of  the  Blue  Ridge.  ...  I  believe  this  is  the 
best-known  children's  song  in  the  mountains."  But  she  adds :  "I  am 
quite  well  aware  that  none  of  the  traditional  folk  songs  in  my  collection 
are  of  necessity  limited  in  North  Carolina  to  the  mountains.  They  are 
in  a  better  state  of  preservation  there  because  the  isolation  has  kept  out 
other  songs,  but  they  are  probably  found  in  every  county  in  the  state. 
Certainly  this  one  is.  It  was  found  in  Caldwell  county  a  hundred  years 
ago,  for  Miss  .Mary  .A.nn  Webster  was  seventy  when  she  died,  and  she 
told  me  that  her  grandmother  sang  it  to  her." 

1  I  bought  me  a  hen  and  my  hen  loved  me, 
I  fed  my  hen  under  yonder  tree. 

Hen  said  'Fiddle  I  fee.' 

2  1  bought  nie  a  turkey  and  my  turkey  loved  me. 
1   fetl  my  turkey  under  yonder  tree. 

Turkey  said  '(Gobble  gobble.' 
Hen  said  'Fiddle  1  fee.' 

3  1  bought  me  a  guinea  and  my  guinea  loved  me. 
]  fed  my  guinea  under  yonder  tree. 

(luinea  said  'Potrack,  ])otrack.' 
Tiu'key  said  '(Gobble  gobble,' 
Hen  .said  'b'iddle  1  fee.' 

4  I  bought  me  a  duck  and  my  duck  loved  me. 
1  fed  my  duck  under  yonder  tree. 

Duck  said  'Ouack  (|uack,' 
Guinea  said  'I'otrack,  ])otrack.' 


LULL  A  H  1  K  S     A  N  I)     N  U  R  S  K  R  Y     R  H  V  M  K  S  1/3 

I'urkcy  said  '( lohhlc  i^obble,' 
Hen  said  'I'^iddlc  1  fee.' 

5     I  bought  me  a  gouse  and  my  goose  loved  me, 
I  fed  my  goose  under  yonder  tree. 
(loose  said  'honk  honk,'  cfc. 

And  so  on  witli  the  cow.  whicli  said  "Moo,  nioo,"  the  horse,  which  said 
"Neigli,  neisli,"  tlie  slieep.  which  said  "Baa.  liaa,"  up  to  this  conclusion: 

9      I  bought  me  a  wife  and  my  wife  lo\ed  me, 
1  \cd  my  wife  under  yonder  tree. 
\\  ife  wotild  scold,  scold, 
Sheep  said  'Baa.  baa,' 
Horse  said  'Neigh,  neigh,' 
Cow  said  'Moo,  moo,' 
CJoose  said  'Honk,  honk,' 
Duck  said  'Quack,  qitack,' 
(hiinea  said  'Potrack,  potrack,' 
Turkey  said  'Gobble  gobble,' 
Hen  said  'Fiddle  I  fee.' 

B 

'I  Bought  Me  a  Hen.'  Another  version  from  Mrs.  Sutton.  The  series 
is  hen,  duck,  turkey,  cow,  dog,  horse,  sheep,  "and  so  on,  interminably. 
Always  the  song  ends  with  'I  bought  me  a  wife,'  etc."  The  tune  was 
recorded  from  the  singing  of  Miss  Pearl  Minish,  Mrs.  Sutton's  sister. 

C 

'I  Bought  Me  a  Hen.'  Obtained  from  Miss  Mamie  Mansfield  of  Durham 
in  July  1922.  Here  the  series  is  hen,  duck,  guinea,  turkey,  cat  (which 
went  "meow,  meow-"),  dog  (which  went  "bow  w-ow"),  cow,  horse,  wife; 
but  it  adds  at  the  end  a  stanza  that  brings  it  up  to  date : 

T  bought  me  a  I'^ord  and  my  Ford  pleased  me, 
And  1  fed  my  Ford  under  yonder  tree. 
]"ord  went  'Get  you  there,  get  you  there,' 
\\"\ie  went  scold,  scold,  cfc. 

D 

'I  Had  a  Little  Hen.'  Reported  by  R.  D.  Ware  in  1921  as  known  in 
Stanly  county.  Here  the  singer  keeps  the  various  creatures  in  a  mys- 
terious "oneyers  tree,"  and  the  sounds  ascribed  to  tliem  are  different. 
The  hen,  to  be  sure,  says  "Fiddle-like-fcc" ;  but  the  duck  says  "dey, 
dey,"  tile  turkey  says  "shimmy-shack,  shimmy-shack,"  the  hog  says 
"griffy-greffy,"  the  cow  says  "paw,  paw" ;  and  in  place  of  the  wife  at 
the  end  is  the  baby : 

I  had  my  baby  and  my  baby  pleased  me. 
Had  my  baby  in  the  oneyers  tree ; 
Baby  says  'ma,  ma,' 
Sheep  says  'ba,  ba,' 
Cow  says  'paw,  paw,* 


1 74  NORTH  CAROLINA  FOLKLORE 

Hog  says  'grifify-greffy,' 
Turkey  says  'shimmy  shack,' 
Guinea  says  'poterack,' 
Hen  savs  'fiddle-like  fee!' 


No  title.  Communicated,  probably  in  1923,  by  Mildred  Peterson  of 
Bladen  county.  The  series  is  cat  (which  went  "fiddle-i-dee"),  dog 
(which  went  "boo,  boo"),  hen  (which  went  "ka,  ka,  ka"),  hog  (which 
went  "krusi,  krusi,  krusi"),  sheep  (which  went  "baa,  baa,  baa"),  cow 
(which  went  "moo,  moo,  moo"),  and  calf   (which  went  "ma,  ma,  ma"). 


Xo  title.  From  Katharine  Jones,  Raleigh.  Not  dated.  Only  the  first 
two  stanzas  are  given,  but  they  differ  appreciably  in  structure  from  the 
preceding  versions. 

Bought  me  a  chicken,  and  a  chicken  wit^  me, 
Fed  my  chicken  behind  a  tree. 
And  my  chick  said  coo,  coo,  coo. 
Every  fellow  feeds  his  chicken 
And  I  feed  my  chicken  too. 

Bought  me  a  duck,  and  a  duck  wit^  me. 
Fed  my  duck  behind  a  tree. 
And  m}'  duck  said  quack,  quack, 
Every  fellow  feeds  his  chicken 
And  I  feed  my  chicken  too. 
etc. 


125 
McDonald's  Farm 

So  called  in  one  of  our  texts ;  each  of  the  five  has  a  different 
title.  In  Quebec  it  is  known  as  'Come,  Come'  (JAFL  xxxi  177-8)  ; 
in  Arkansas  (OFS  iii  211-12),  as  in  our  D,  it  is  called  'The  Merry 
Circen  Fields  of  the  Lowland';  in  Iowa  (JAFL  Liv  177-8),  'The 
Banks  of  Holland';  in  Nebraska  (ABS  238-40),  "Sweet  Fields  of 
Violo.'  In  content  it  is  similar  to  "Barnyard  Sons'. '  hut  its  structure 
is  different.  It  seems  to  have  arisen  from  the  familiar  "this-a-way 
that-a-way"  sonj?  f^ame  which  in  this  country  has  developed  into 
social  satire;  see  'When  I  Was  a  Young-  Girl'  in  this  volume.  Or 
perhaps  the  nursery  song  gave  rise  to  the  game. 

A 

'McDonald's  Farm.'     From  Miss   Mary  Scarborough  of  Dare  county,  in 
1923  or  thereabouts. 

'Possibly  this  is  "bit";  the  manuscript  is  not  clear.  Neither  word 
seems  to  make  sense  in  this  connection. 


LULL  A  I!  I   K  S      A  \  I)      X   r  K  S  K  R  Y      K  H  Y  M  K  S  1 75 

Old  McDonald  had  a  tarni. 

E-i  ei  o 

And  on  that  farm  he  had  sonic  chicks, 

E-i  ei  o 

\\'ith  a  chick  chick  here  and  a  cliick  chick  there. 

And  a  here  chick,  there  chick,  e\  ervwhere  chick  chick. 

Old  McDonald  had  a  farm, 

E-i  ei  o. 

And  on  that  farm  he  had  some  turkeys, 

E-i  ei  o 

With  a  gobble  gobble  here,  and  a  gobble  gobble  there. 

And  a  here  gobble,  there  gobble,  everywhere  gol)ble  gobble, 

Chick  chick  here,  chick  chick  there. 

Here  chick,  there  chick,  everywhere  chick  chick. 

Old  McDonald  had  a  farm, 

E-i  ei  o. 

And  on  that  farm  he  had  some  ducks, 
E-i  ei  o 

\\'ith  a  quack  quack  here  and  a  quack  quack  there, 
And  a  here  (juack,  there  quack,  everywhere  quack  (|uack, 
etc. 

And  on  that  farm  he  had  some  geese, 

E-i  ei  o 

With  a  honk  honk  here,  and  a  honk  honk  there,  etc. 


'In  the  Merry  Green  Fields  of  Ireland.'  Reported  by  Miss  Gertrude 
Allen  (afterwards  Mrs.  Vaught )  from  Taylorsville,  Alexander  county. 
"Any  other  animal  may  be  put  in  also."  But  the  distinctive  sounds  made 
by  the  different  creatures  are  not  given  after  the  first  stanza. 

1  My  grandmammy  had  some  very  fine  ducks 
In  the  merry  green  fields  of  Ireland. 

\\  ith  a  quack  quack  here 

And  every  now  and  then  a  quack  cjuack 

In  the  merry  green  fields  of  Ireland. 

2  My  grandmammy  had  some  ver}-  fine  sheep 
In  the  merry  green  fields  of  Ireland. 

etc. 

3  My  grandmammy  had  some  very  fine  pigs 

etc. 

4  ^ly  grandmammy  had  some  very  fine  cows 

etc. 


176  NORTH     CAROLINA     FOLKLORE 

5  My  graiidinaniniy  had  some  very  fine  dogs 

'etc. 

6  J\ly  grandmainniy  had  some  very  fine  cats 

etc. 

c 
'Oil,    Grandma    Had    Some    Very    Fine    Geese.'      Reported    by   Julian    P. 
Buyd   as  collected  from   Minnie   Lee,  one  of  his   students   in   the   school 
at  Alliance,  Pamlico  county,  in  1927. 

( )h,  (irandma  had  some  very  fine  geese 
That  Alary  feeds  in  the  morning. 
Otiick  (|uack  here  !     Quick  qtiack  there  ! 
ICvery  then  a  ([uick  and  every  now  a  qtiack. 
Ouick,  quack,  quack  in  the  morning. 

And  so  on  for  dogs  ("l)o\v  wow"),  cats  ("mew  mew"),  and  sheep  ("baa 
baa"),  and  it  ends  : 

Oh,  Grandma  has  some  very  fine  stock 
That  Mary  feeds  in  the  morning. 
Quick,  quack  here  !     Bow^,  wow  there  ! 
Every  then  a  how.  and  every  now  a  meow. 
Baa,  baa.  ])aa-aa  in  the  morning. 

D 

'The  Merry  Green  Fields  of  the  Low  Lands.'  From  Miss  Elizabeth 
Walker,  Boone.  Watauga  county,  in  1936.     With  the  music. 

My  grandfather  had  some  very  fine  ducks 

In  the  merry  green  fields  of  the  low  land. 

'Twas  a  quack-quack  here  and  a  quack-{|uack  there 

And  here  a  quack  and  there  a  quack. 

Oh,  say,  bonny  lassie,  will  you  go  with  me 

To  the  merry  green  fields  of  the  low  land  ? 

And  so  on  with  hens  ("cack-cack").  sheep  ("baa-baa"),  "as  long  as  one 
has  breath  to  sing  and  can  think  of  animals  and  their  respective  sounds 
to  hll  in  the  song." 

E 

'Come,  Says  Harry."  Reported  as  "traditional  in  our  family"  by  .Miss 
Adelaide  Fries  of  Winston-Salem  in  1926.  "The  number  of  verses  is 
limited  only  l)y  tlie  numlier  of  animals  and  fowls  whose  names  and  cries 
arc  known  to  the  singer." 

'Come,'  says  Harry,  'will  you  gang  with  nu- 
To  the  merry  green  woods  that  I  own  ?' 
'Come,'  says  Harry,  'will  you  gang  with  nu- 
To  see  my  father's  sheei)?' 

With  a  baa.  baa  here  and  a  baa,  baa  there, 

Here  baa.  there  baa.  here  and  there  baa.  baa.  baa. 


L  U  L  L  A  H  1  K  S     A  N  I)      N  U  K  S  K  K  Y      K  II  V  M  K  S  I// 

126 

Quack,  Ouack,  Quack 
A  nursery  rhyme,  apparently.     I  have  not    found  it  elsewhere. 

'Quack,  Quack,  Quack.'     Reported  by  Miss  xMainie  Maustield  as  obtained 
from  a  fuurtli-grade  pupil,  Azzilee  Norris,  in  the  Durham  school. 

1  There  were  six  fat  chicks  that  once  I  knew, 
Pretty  ducks,  fat  ducks  they  were  too; 

But  the  one  with  a  feather  curled  up  on  his  back, 
Oh,  he  ruled  the  others  with  a  quack,  (juack,  (|uack. 

Chorus: 

Quack,  quack,  quack,  quack,  quack,  quack, 

( )h.  he  ruled  the  others  with  a  ({uack.  c|uack,  ([tiack. 

2  Down  to  the  meadow  these  ducks  would  go, 
A-wiggling  and  a-waggling  all  in  a  row, 

But  the  one  with  a  feather  curled  up  on  his  back. 
Oh,  he  ruled  the  others  with  a  quack,  quack,  (jitack. 

3  Down  to  the  pond  these  ducks  would  go, 
A-splashing  and  a-splashing  all  in  a  row. 

But  the  one  with  a  feather  curled  up  on  his  back. 
Oh,  he  ruled  the  others  with  a  quack,  quack,  (|uack. 

127 

The  Dogs  in  the  Alley 

A  jingle  on  animal  sounds  akin  to  the  familiar  '1  had  a  duck  and 
the  duck  pleased  me,'  thougli  I  have  not  found  just  this  use  of  the 
idea  elsewhere. 

'O,  the  Dogs  in  tlie  .Alley.     Nursery  Rhyme.'     Communicated  by  B.  O. 
Aiken  of  Durham.     Not  dated. 

Oh,  the  dogs  in  the  alley 
They  go  bow-wow-wow, 
And  the  cats  join  the  chorus 
W  ith  a  meow-meow-meow. 
And  the  pigs  in  the  pen 
They  go  we-we-we. 
And  the  rooster,  he  goes 
Cocka-do-dle-do. 

128 
Go  Tell  Aunt  Patsy 

This  nursery  jingle  is  very  generally  known:  in  .Maine  (  FSONK 
207 J,  Virginia  (JAFL  x.wi  130).  North  Carolina  (.SharpK  11  345, 

N.C.F..  Vol.  in,  (l-t) 


178  N  O  R  T  II     CAROLINA     FOLKLORE 

ANFS  177,  OSSG  3),  Georgia  (JAFL  xlvii  336),  Texas  (TNFS 
8  and  195-6),  the  Ozarks  (OFS  11  347-9),  Iowa  (JAFL  lvi  ho), 
and  perhaps  Kentucky  ( Shearin  38).  ^Irs.  Steely  found  it  in  the 
Ebenezer  community  in  Wake  county. 

'Old  (iray  Goose."  Reported  by  Etliel  Brown  from  Catawba  county. 
No  date  given. 

1  Go  tell  Aunt  Patsy, 
Go  tell  x^unt  Patsy, 
Go  tell  Aunt  Patsy 

The  old  gray  goose  is  dead. 

2  The  one  she's  been  saving, 
The  one  she's  been  saving. 
The  one  she's  been  saving 
To  make  a  feather  bed. 

3  Old  granny's  weeping. 
Old  granny's  weeping, 
Old  granny's  weeping 
Because  her  true  love's  dead. 

4  She  died  last  Friday, 
She  died  last  Friday, 
She  died  last  Friday 

\\  ith  the  toothache  in  her  head. 

129 

The  Fox  and  the  Goose 

For  references  to  this  song  both  in  England  and  in  America,  see 
the  note  in  SharpK  11  398,  and  add  Vermont  (VFSB  119-20), 
Massachusetts  (FSONE  202-4),  Virginia  (FSV  207-8),  Kentucky 
(BKH  181-2),  Florida  (SFLQ  iv  148-9,  among  the  Conchs),  the 
Ozarks  (OFS  i  387-9),  Ohio  (BSO  213),  Indiana  (BSI  323), 
Michigan  (BSSM  465),  and  Iowa  (MAFLS  xxix  42-4.  JAFL  lvi 
105).  It  goes  under  various  names  and  is  very  widely  known.  Of 
the  four  texts  in  the  Brown  Collection  all  but  one  have  to  do  with 
a  duck,  like  Sharp's  Tennessee  and  North  Carolina  texts,  not  with 
a  goose ;  but  they  all  belong  to  one  tradition  none  the  less. 


'The  Fox  and  the  Goose.'  Reported  by  Mrs.  R.  D.  Blacknall  of  Durham 
as  "sung  by  a  Negro  servant,  Maria  McCauley,  presumably  an  ex-slave 
of  the  Chapel  Hill   .McCauleys.     Heard  forty-five  years  ago.'' 

I     The  fox  marched  forth  one  moonshiny  night ; 
He  stood  upon  his  hind  legs,  itiuch  about  right ; 
'Some  meat,  some  meat  I  must  have  this  night 
Before  I  leave  this  town-e-o, 
lieforc  1  lea\c  this  town-e-o.' 


L  U  L  I.  A  I!  I   !•:  S      A  X  I)      N  I'  R  S  K  K  Y      K   II   V  M  K  S  1/9 

2  The  fox  marched  up  to  the  farmer's  cooj) 
And  there  he  met  the  old  grey  goose. 

'Old  goose,  old  goose,  you  must  come  along  o'  me ; 
I'm  the  finest  old  fellow  in  the  town-e-o. 
I'm  the  finest  old  fellow  in  the  town-e-o.' 

3  The  fox  took  a  nigli  cut  to  his  den. 

( )ut  come  his  young  ones,  eight,  nine,  ten. 
'Daddy,  daddy,  do  go  again  ! 
You're  the  luckiest  old  fellow  in  the  town-e-o, 
You're  the  luckiest  old  fellow  in  the  town-e-o!' 

4  (  )ld  mother  grey  goose  jumped  out  of  hed 
And  out  of  the  window  she  poked  her  head : 
'Old  man.  old  man,  the  grey  goose  is  dead. 
For  I  heard  her  holler  "Quing  quath-e-o !" 
For  I  heard  her  holler  "Quing  quath-e-o !"  ' 

B 

No  title.     From   .Miss  Mamie  E.  Cheek.  Durliani.     Not  dated. 

1  The  fox  jumped  up  one  moonshiny  night. 
He  prayed  for  the  moon  to  afiford  him  light ; 
He  had  many  miles  to  travel  that  night 

Before  he  reached  the  Towny-o,  towny-o,  towny-o, 
Before  he  reached  the  towny-o. 

2  At  last  he  reached  the  farmer's  yard. 
There  he  met  an  old  gray  drake. 

'Old  drake,  old  drake,  you  must  come  along  with  me. 
I'm  the  finest  old  fellow  in  the  towny-o,  towny-o, 
I'm  the  finest  old  fellow  in  the  towny-o.' 

3  ( )ld  iMother  Huhhard  jumped  out  of  her  hed 
And  out  of  the  window  she  popped  her  head  : 
'John,  John,  John,  the  hlack  cluck's  gone; 

I  thought  I  heard  'er  holler  "Quin  (|ua  nn'o.  (|uin  (|ua  niio, 

quin  (|ua  mio," 
I  thought  I  heard  her  holler  "yuin  (|ua  mio!"  ' 


No  title.     Reported  by  Miss  Iris  C.  Chappeile  (later  Mrs.  H.  C.  Turling- 
ton)   from  Creedmoor,  Granville  county. 

I      A  fox  went  out  one  moonshiny  night. 
Prayed  to  the  Lord  to  'ford  him  a  light; 
Had  many  miles  to  go  that  night 
Before  he  reached  the  town  O,  town  ( ), 
Before  he  reached  the  town  O. 


1 8o  NORTH      CAROLINA     !•*  0  L  K  L  0  R  E 

2  He  came  to  a  pen, 

Saw  there  black  clucks  nine  or  ten, 
Gralibed  a  black  duck  by  the  neck. 
And  the  feet  went  dangling  down  O,  down  O, 
And  the  feet  went  dangling  down  O. 

3  Old  mother  Whittle  popped  out  of  bed, 
Out  to  the  window  she  poked  her  head ; 

She  cried,  'John,  John,  my  black  duck's  gone !' 
But  the  fox  went  through  the  town  O,  town  O, 
But  the  fox  went  through  the  town  O. 

4  (Jld  mother  Whittle  she  hopped  back  to  bed. 

She  covered  up  her  head  and  she  hollered  and  she  cried. 

'Oh,  John,  my  black  duck's  gone.' 

But  the  fox  went  through  the  town  O.  town  O. 

But  the  fox  went  through  the  town  O. 

5  He  came  to  a  woods.  .  .  .^ 

D 
'Fox.'     Contributed  by  Katherine  Bernard  Jones  of  Raleigh.     Not  dated. 

1  Fox  jumped  out  one  moonshiny  night. 
Prayed  to  the  moon  to  afford  him  light. 
For  he  had  many  miles  to  travel  that  night 
Before  he  reached  the  town  O,  town  O. 

For  he  had  many  miles  to  travel  that  night 
Before  he  reached  the  town  O,  town  O.- 

2  \\  hen  he  reached  the  farmer's  barn 

The  geese  and  ducks  raged  and  charged  ; 
'But  the  best  of  you  shall  grease  my  beard 
Before  I  leave  the  town  O,  town  O.'^ 

3  He  seized  the  old  black  duck  by  the  neck. 
Swung  her  across  the  back. 

'Quack,  quack,  quack,'  said  the  old  duck. 
But  the  fox  went  dangling  down  ().  down  O. 

4  Ole  Mother  Widdle  Waddle  out  of  the  bed, 
Out  of  the  window  popped  out  her  head  : 
'John,  John,  John,  the  black  duck's  gone. 

And  the  fox  lias  gone  through  the  town  (  ).  town  O !' 

5  John  ran  out  upon  the  hill. 
Blew  liis  horn  loud  and  shrill. 

^  The  manuscript  notes:  "I  have  forgotten  the  last  verse." 
*  The  last  two  lines  of  each  stanza  are  thus  repeated  throughout. 
"  The  "town  O"  is  written  three  times  in  this  line  in  the  manuscript, 
doubtless  by  a  mere  slip  of  llic  pen. 


I.   r  1.  I.  A    I!  1    K  S      A   .N   I)      X    r  K  S  K  K  V      K    H    V   M   K  S 

'Ha  ha  ha!"  said  tlu'  old  fox, 

'But  I've  yol  throvij^li  the  town  (^,  town  O !' 


'Tile    Fox   and    the    Goose.'      Fruin    Mrs.    A.    I.    (ireen,    Hector,    Avery 
county.     Not  dated.     A  single  stanza,  the  same  as  tlie  fust  stanza  of  A. 


130 

Thk  Oi.n  \\'(»M.\N  AND  IIkr  Pic, 

This  old  English  nursery  ditty  (Halliwell  18,  Rinihault  42)  is 
known  under  various  names  in  tliis  country:  in  X'irginia  ( FSV 
192-3)  as  'The  Little  Pig'  or  'The  Little  Old  Woman,'  in  West 
\'irginia  (FSS  496-7)  as  'Old  Sam  Fanny'  or  'Old  Joe  Finley,'  in 
Ohio  (BSO  179-81)  as  'Old  Sam  Fanny.'  It  is  reported  also  from 
North  Carolina  ( SharpK  11  343-4)  and  Georgia  (MSHF  14-15). 
Both  of  our  texts  have  the  nasal  grunt  by  way  of  refrain  that  marks 
many  versions  of  'The  Frog's  Courtship.' 


'The  Old  Woman  and  Her  Pig.'  Reported  by  Mrs.  Sutton  from  the 
singing  of  school  children  at  CoUettsville,  "in  the  John's  River  valley, 
right  down  under  Blowing  Rock."     Blowing  Rock  is  in  Watauga  county. 

1  There  was  an  old  woman  had  a  little  pig,  uniph  humph 
There  was  an  old  woman  had  a  little  pig,  umph  humph 
There  was  an  old  woman  had  a  little  i)ig. 

The  little  pig  was  just  so  big,  umph  humph. 

2  The  little  pig  ran  all  around  the  farm,  umph  humph 
The  little  pig  ran  all  around  the  farm,  umi)h  hum])h 
The  little  pig  ran  all  around  the  farm 

But  he  didn't  do  much  harm,  umph  humph. 

3  The  little  pig  died  for  the  want  of  bread, ^  um])h  humph 
The  little  pig  died  for  the  want  of  bread,  umph  humph 
The  Httle  pig  died  for  the  want  of  bread ; 

Don't  you  think  that's  a  mighty  hard  death?  umph  humph. 

4  Then  the  old  woman  lay  down  and  died,  umph  humph 
Then  the  old  woman  lay  down  and  died,  umpli  humph 
Then  the  old  woman  lay  down  and  died 

And  the  old  man  he  sat  and  cried,  umph  humph. 

5  The  old  man  died  for  the  want  of  breath,  umph  humph 
The  old  man  died  for  the  want  of  breath,  umph  hum])h 
The  old  man  died  for  the  want  of  breath. 

Don't  you  think  that's  a  mighty  hard  death?  umph  humjih. 

'  So   the   manuscript ;   but   the   rhyme,   and   the    B   text,   show    that   it 
should  be  "breath." 


1 82  NORTH   CAROLINA   FOLKLORE 

6     There's  an   old   song  book   that  lies  on   the   shelf,   uniph 

humph 
There's  an   old   song  book   that   lies  (in   the   shelf,   uniph 

humph 
There's  an  old  song  book  that  lies  on  the  shelf, 
If  you  want  any  more  you'll  sing  it  yourself,  umph  humph. 

B 
'The  Old  Woman's  Little  Pig.'     Reported  in  May  iy20,  by  C.  E.  Buck- 
ner  of  Asheville  from  the  singing  of  his  mother,   Mrs.   Mattie   Buckner. 

1  There  was  an  old  woman  who  had  a  little  pig,  mm-mm-mm 
There  was  an  old  woman  who  had  a  little  pig. 

Didn't  eat  much  for  it  wasn't  very  big.  mm-mm-mm. 

2  That  little  pig  did  a  heap  of  harm,  mm-mm-mm 
That  little  pig  did  a  heap  of  harm. 

^lade  little  tracks  around  the  barn,  mm-mm-mm. 

3  That  little  pig.  it  died  a  bad  death,  mm-mm-mm 
That  little  pig,  it  died  a  bad  death. 

Died  because  it  couldn't  get  its  breath,  mm-mm-mm. 

4  The  old  woman  sobbed,  she  mourned,  she  cried,  mm-mm- 

mm 
The  old  woman  sobbed,  she  mourned,  she  cried ; 
Then  she  layed  right  down  and  died,  mm-mm-mm. 

5  The  old  man  died  on  the  count  of  grief,  mm-mm-mm 
The  old  man  died  on  the  count  of  grief  ; 

Wasn't  that  a  great  relief?  mm-mm-mm. 

6  There  they  lay  all,  one,  two,  three,  mm-mm-mm 
There  they  lay  all,  one,  two,  three. 

Old  man,  old  woman,  and  a  little  piggee.  mm-mm-mm. 

7  There  it  lays  up  on  the  shelf,  mm-mm-mm 
There  it  lays  up  on  the  shelf, 

If  you  want  anymore,  you'll  sing  it  yourself,  mm-mm-mm. 

c 

'The    Old    Woman    and    Her    Pig."      l-'rom    Catherine    Cox.    Salislmry. 
Rowan  county.     Not  dated.     Does  not  differ  significantly  from  B. 

W II K.N"  1  Was  .\  LiTTLK  Uov 

l'"()r  the  comhinatiiin  of  this  with  the  '.Swappinti'  Sonjj'  sec  that 
title  anionjj  the  ballads.  As  a  nursery  rhyme  in  its  own  r\g]n  it  is 
old  and  very  tjenerally  known  (Halliwell  14,  and  compare  'When 
I  Was  a  Wee  Thing'  in  Herd's  A)iciciit  and  ModcDi  Scottish  Songs, 


L  U  L  L  A  1$  I  K  S     AN  I)     N  U  R  S  V.  U  V     R  II  V  M  K  S  183 

II  213-14  of  the  1869  reprint),  but,  for  that  very  reason  probably, 
seldom  inchided  in  rei;ional  folk  song  collections.  It  appears  three 
times  in  the  North  Carolina  oollection  : 

A  From  K.  P.   Lewis,  wlid  liad  it   imm   Dr.  Koni])   T.  Battle  of  CliaiX'l 
Hill. 

B  From  the  Misses  Holonian  of  Durham,  in   1922. 

C  From  Miss  Mamie  Mansfield  of  Durham,  in  1922. 

As  the  texts  do  not  vary  sii^iiirtcantly  it  will  be  sufficient  to  j,nve 
the  first  of  these.     None  has  any  refrain  indicated. 

1  When  I  was  a  little  boy  I  lived  by  myself 

And  all  the  bread  and  cheese  I  got  1  put  upon  the  shelf. 

2  The  rats  and  the  mice  they  made  such  a  strife 

I  was  forced  to  go  to  London  to  buy  me  a  wife. 

3  \\'hen  I  got  there  the  streets  were  so  narrow 

I  was  forced  to  bring  my  wife  home  in  a  wheelbarrow. 

4  The  wheelbarrow  broke  and  my  wife  had  a  fall; 
Down  came  wheelbarrow,  wife,  and  all. 

132 
Bobby  Shaftoe 

This  old  English  nursery  song  ( Halliwell  149,  Riinbault  42)  I 
have  found  reported  as  folk  song  in  this  country  onlv  from  Virginia 
(FSV  200). 

'Bobbie  Shaftoe.'  Contributed  in  July  1922,  by  Miss  Doris  Overton  of 
Durham  (afterwards  Mrs.  K.  M.  Brim).     With  the  tune. 

1  Bobbie  :  Marie,  will  you  marry  me  ? 

For  you  know  I  love  thee. 
Tell  me,  darling,  will  you  be 
The  wife  of  Bobbie  Shaftoe? 

2  Marie:     Bobbie,  pray  don't  ask  me  more. 

For  you've  asked  me  twice  before. 
Let  us  be  good  friends,  n(j  more, 
Dearest  Bobbie  Shaftoe. 

3  Bobbie:   If  you  will  not  marry  me 

I  will  go  away  to  sea 

And  you  ne'er  again  shall  see 

Your  friend  P)obbie  Shaftoe. 

4  Marie:     I'obbie  Shaftoe's  gone  to  sea 


1^4  NORTH  CAROLINA  FOLKLORE 

5  Bobbie  Shaftoe's  come  from  sea. 

Silver  buckles  on  his  knee. 
He's  come  back  to  marry  me, 
Dearest  Bobbie  Shaftoe. 


133 
The  Pretty  Pear  Tree 

This  English  cumulative  song   (Halliwell   115,  Mason  26-7;  also 
Newell  111-13),  more  often  called  'The  Tree  in  the  Wood'  (FSSom 

II  12-13;  see  also  SCSM  359,  and  for  a  possible  connection  with 
"the  faucon  hath  borne  my  make  away"  JFSS  iv  52-66),  is  well 
known  also  in  America;  Newfoundland  (FSN  72),  Massachusetts 
{  (AFL  VIII  86-8,  FSONE  79),  Virginia  (SharpK  11  282,  SCSM 
35,  8-60,  FSV  186),  Kentucky  (BKH  87-8).  North  Carolina 
(SharpK  11  281-2).  Missouri   (OFS  iii  213-15).  Indiana   (HFLB 

III  67).  >.Iichigan  (BSSM  474)  ;  a  text  without  location  but  prob- 
ably Southern  is  given  in  JAFL  xi  272. 

'The  Pretty  Pear  Tree.'  Reported  by  Mrs.  M.  M.  Moore  of  Raleigh 
in  1924  as  sung  by  her  grandmother.  Mrs.  Erville  Chamberlain,  who 
came  from  western  New  York  State,  where  her  people  were  "Americans 
of  several  generations  at  the  time  of  the  Revolution."     With  the  music. 

1  What  is  out  in  yonder  field? 
There  stands  a  pretty  pear  tree, 
Pretty  pear  tree  with  leaves. 

2  \Vhat  is  on  the  tree? 
A  very  pretty  limb. 
Limb  on  the  tree. 
Tree  in  the  ground. 

Out  in  that  beautiful  field 
There  stands  a  pretty  pear  tree, 
Pretty  pear  tree  with  leaves. 

3  W^hat  is  on  the  limb? 
A  very  pretty  branch. 
Branch  on  the  limb. 
Limb  on  the  tree, 
Tree  in  the  ground. 

Out  in  that  beautiful  field 
There  stands  a  pretty  pear  tree, 
Pretty  pear  tree  with  leaves. 

4  WHiat  is  on  the  branch? 
A  very  pretty  bough, 
liough  on  the  branch, 
{'ranch  on  the  limb, 
Limb  on  the  tree, 


1,  U  L  I.  A  B  I  E  S     AND     N  U  R  S  K  R  Y     R  H  Y  M  E  S  185 

Tree  in  the  ground. 
Out  in  that  hcautifnl  field 
There  stands  a  pretty  pear  tree, 
Pretty  pear  tree  witli  leaves. 

5  What  is  on  the  hough? 
A  very  pretty  twig. 
Twig  on  the  hough,  etc. 

6  \\  hat  is  on  the  twig? 
A  very  pretty  nest. 
Nest  on  the  twig,  rfc. 

7  W  hat  is  on  the  nest  ? 
A  very  pretty  egg. 
Egg  on  the  nest,  etc. 

8  What  is  on  the  egg? 
A  very  pretty  bird. 
Bird  on  the  egg,  etc. 

9  What  is  on  the  bird? 
A  very  pretty  feather. 
Feather  on  the  bird,  etc. 

10     What  is  on  the  feather? 
A  very  pretty  speck. 
Speck  on  the  feather. 
Feather  on  the  bird. 
Bird  on  the  egg. 
Egg  on  the  nest. 
Nest  on  the  twig. 
Twig  on  the  bough. 
Bough  on  the  branch. 
Branch  on  the  limb. 
Limb  on  the  tree, 
Tree  in  the  ground. 
Out  in  that  beautiful  field 
There  stands  a  pretty  pear  tree. 
Pretty  pear  tree  with  leaves. 

134 

Jack-a-Maria 

A  sequence  jingle,  known  also  in  South  Carolina  (JAFL  xliv 
436).  Georgia  (SSSA  242.  JAFL  xlvii  339),  Mississippi  (JAFL 
XXVI  143),  Texas  (PFLST  xiii  251),  Arkansas  (Ozark  Folklore 
I  7),  and  Indiana  (SFLQ  iii  181). 

'Jack-a-ma-rier.     Nursery  Rhyme.'     Communicated  by  Mrs.  Doris  Over- 
ton Brim  of  Durham  in  1923  or  thereabouts. 


l86  NORTH  CAROLINA  FOLKLORE 

Jack-a-nia-rier 

Jumped  in  the  fire ; 

Fire  so  hot 

He  jumped  in  the  pot ; 

Pot  so  black 

He  jumped  in  a  crack  ; 

Crack  so  high 

He  jumped  in  the  sky; 

Sky  so  bkie 

He  jumped  in  a  canoe; 

Canoe  so  shallow 

He  jumped  in  the  tallow ; 

Tallow  so  white 

He  stayed  all  night. 

135 
There's  a  Hole  ix  the  Bottom  of  the  Sea 

A  sequence  song,  somewhat  on  the  model  of  'The  Pretty  Pear 
Tree.'     I  have  not  found  it  in  print. 

'There's  a  Hole  in  the  Bottom  of  the  Sea."  Reported  in  1923  by  Miss 
Lucille  Cheek  as  "sung  by  boys  and  girls  in  Chatham  county  on  hay- 
rides." 

1  There's  a  hole  in  the  bottom  of  the  sea, 
There's  a  hole. 

There's  a  hole. 

There's  a  hole  in  the  bottom  of  the  sea. 

2  There's  a  rock  in  the  bottom  of  the  sea, 
There's  a  rock. 

There's  a  rock. 

There's  a  rock  in  that  hole  in  the  bottom  of  the  sea. 

3  There's  a  frog  in  the  bottom  of  the  sea, 
There's  a  frog, 

There's  a  frog, 

There's  a  frog  on  that  rock  in  that  hole  in  the  bt)ttom  of 
the  sea. 

136 
John  Brown  Had  a  Tjttle  Tnjux 

Presumably  English,  though  it  is  not  in  Rimhault's  collection  and 
Halliwell  has  only  a  piece  al)out  two  little  Indians — not  a  number 
song.  In  this  country  it  has  been  reported  from  Virginia  (FSV 
lyo),  Kentucky  (.Shearin  34),  Georgia  (S.SSA  241-2),  Arkansas 
(OFS  III  399),  the  Midwest   (Pound  y^.  Ford  448),  the  Southern 


L  U  L  I.  A  li  1  F.  S      A  NO      N  L'  R  S  1".  K  Y      R  II   Y   M   K  S  187 

nuiuiitains  (AMS  84-3 — not  (|uite  tlic  >;mic  tliint;",  hut  a  minil)(.T 
sunjj )  ;  it  appears  in  tiie  refrain  ul  a  play-party  son^'  in  lilaho 
(JAFL  XLiv  9)  ;  and  in  Negro  song  with  "niggers"  in  place  of 
Indians  (Talley  163).  Perrow  (JAFL  xxvi  154)  reports  it  from 
Alabama  Negroes  with  "angels"  in  place  of  Indians. 

A 

'Jolin  Brown  Had  a  Little  Injun."  Contributed  l)y  Ktlal  I  licks  I'uffalo, 
Granville  county.     Not  dated. 

1  John  Brown  had  a  little  liijtiii. 
John  15rown  had  a  little  Injun. 
John  Brown  had  a  little  Injun. 
Had  a  little  Injun  boy. 

2  One.  two,  three  little  Injuns. 
Four,  five,  six  little  Injuns. 
Seven,  eight,  nine  little  Injuns, 
Ten  little  Injun  boys. 

B 

No  title.  Communicated  from  Chatham  county,  in  1923  or  thereabouts, 
liy  Miss  Mamie  E.  Cheek.  The  same  as  A,  except  that  it  completes  the 
circuit  witli  a  third  stanza  : 

Ten  little,  nine  little,  eight  little  Injuns, 
Seven  little,  six  little,  five  little  Injuns, 
Four  little,  three  little,  two  little  Injuns, 
One  little  Injun  boy. 

137 

Bingo 

This  old  English  spelling  song  (Rinibault  62-3)  is  still  sung  in 
England  (JESS  i  242.  v  219)  and  has  been  reported  from  the  sing- 
ing of  school  children  in  Cincinnati  (JAFL  xl  ^y ) . 

'Bingo.'  K.  P.  Lewis  reported  this  from  the  singing  of  Dr.  Kem])  P. 
Battle  of  Chapel  Hill  in  November  1910. 

There  was  a  dog  lay  on  a  barn  floor, 
And  Bingo  was  his  name. 
B-a  ba,  b-e  be,  b-i  bi. 
B-o  bo,  b-u  bu,  b-y  by, 
Bingo  was  his  name. 


138 
Call  My  Little  Dog 

Possibly   a   modification   of.  or   suggested   by,   'Bingo,'   above, 
have  not  found  it  elsewhere  reported  as  folk  song. 


1 88  NORTH  CAROLINA  FOLKLORE 

'Call  My  Little  Dog.'  Like  'Bingo,'  this  is  reported  by  K.  P.  Lewis 
from  the  singing,  in  November  1910,  of  Dr.  Kemp  P.  Battle  of  Chapel 
Hill. 

'Call  my  little  dog.' 
•What  shall  I  call  him?' 
'Call  him  Ponto, 
Call  him  Carlo, 
Call  him  J-A-C-K !' 

139 
The  Vowels 

This  spelling  chant  has  been  reported  from  Virginia  (FSV  185) 
and  Texas   (PFLST  vi  227-8),  and  is  doubtless  known  elsewhere. 

'The  Vowels.'  Contributed  by  the  Misses  Holeman  of  Durham  in  1922. 
They  note  that  the  song  continues  until  all  the  consonants  are  used. 

B-a  ba,  b-e  be, 

B-i  bick-a-bi, 

B-o  bo,  bick-a-bi-bo, 

B-u  bu,  bick-a-bi-bo  bu. 

C-a  ca,  c-e  ce, 

C-i  cick-a-ci, 

C-o  CO,  cick-a-ci-co. 

C-u  cii,  cick-a-ci-co-cu. 

140 
Banbury  Cross 

This  very  familiar  nursery  jingle  seems  not  to  have  been  thought 
worth  recording  by  folk-song  collectors.  I  have  found  it  reported 
only  from  Ontario  (JAFL  xxxi  112).  As  reported  in  our  col- 
lection it  is  a  composite  of  fragments ;  the  last  four  lines  are  from 
the  singing  game  'Ring  around  a  Rosy.' 

No  title.  Reported  by  Miss  Leonora  Aider,  l)ut  without  notation  of  time 
or  place. 

1  Trot  a  hobby  horse 

To  the  Bandbury  Cross 

To  get  some  cherries. 

When  you  get  there 

The  trees  don't  bear. 

Here  yon  come 

A-trotting  back,  a-trotting  back. 

Take  care,  little  boy, 

And  don't  yon  fall  off. 

2  CJall(jp,  gallop  to  .Strawberr\'  town. 
Take  care,  little  bov,  and  don't  tall  down. 


I,  U  L  I.  A  H  I  F.  S     A  N  I)     N  V  H  S  K  R  Y     R  H  Y  M  E  S  189 

3  My  turkey,  your  turkey, 
Shoo,  turkey,  shoo  ! 

4  Swing  around  the  roses, 
I'ocket  full  of  posies. 
Sweet  bread,  rye  bread, 
Squat ! 

141 

Oh,  Mr.  Rf.vel! 

The  rhvme  about  "the  devil,  with  his  wooden  pick  and  shovel" 
is  English :  Northall,  English  Folk  Rhymes  3o(y,  records  it  as  known 
in  Warwickshire  and  •'the  west  of  England."  Henry  (SSSA  252) 
reports  a  form  of  it  from  the  Southern  mountains. 

A 

'Mr.  Revel."  Communicated  by  K.  P.  Lewis  as  set  down  in  1910  from 
the  singing  (or  recitation)  of  Dr.  Kemp  P.  Battle  of  Chapel  Hill, 
with  the  notation  "Sing  very  fast"  and  "must  be  acted  to  be  effective," 
but  with  no  indication  of  what  the  action  is. 

Oh.  Mr.  Revel! 
Did  you  ever  see  the  devil 
With  wooden  spade  and  shovel 
A-digging  up  the  gravel 
With  his  long  toe-nail? 

6 

'Negro  Song.'     Reported  by  Mrs.  J.  R.  Chamberlain  of  Raleigh  in   1924. 

Did  you  ebber  see  de  debbil 
W'id  his  iron-wooden  shubble 
Diggin'  grabble,  diggin'  grabble? 
Po sinnei" 


142 

Old  Woman  All  Skin  and  Bones 

This  old  English  shudder-story  (Halliwell  64-5.  Rimbault  30-O 
is  still  told  to  children  in  various  parts  of  the  United  States.  See 
BSM  502.  and  add  to  the  references  there  given  Massachusetts 
(FSONE  33-6).  \'irginia  (FSV  198-200),  the  Ozarks  (OPS  i  301- 
2),  Ohio  (BSO  206-7),  and  Indiana  (BSI  268).  Our  North  Caro- 
lina texts  differ  interestingly  in  regard  to  what  it  was  that  the  old 
woman  saw. 

A 

'There  Was  an  Old  Woman.'     Sung  into  the  Ediphone  in   1920  by  Miss 
Tina  Fussell,  a  student  at  Trinity  College  from  Snow  Hill,  Greene  county. 


igO  NORTH  CAROLINA  FOLKLORE 

1  There  was  an  old  woman  all  skin  and  bones 

Oo-oo-oo 
And  full  of  dreadful  sighs  and  groans. 
Oo-oo-oo 

2  This  woman  had  a  mind  to  pray, 

Oo-oo-oo 
So  to  church  she  went  one  day. 
Oo-oo-oo 

3  And  when  she  got  up  to  the  stile 

Oo-oo-oo 
She  thought  she'd  stop  and  rest  a  while. 
Oo-oo-oo 

4  And  when  she  got  to  the  church  door 

Oo-oo-oo 
She  thought  she'd  rest  a  little  more. 
Oo-oo-oo 

5  And  when  she  got  inside  the  door 

Oo-oo-oo 
She  spied  a  corpse  lying  on  the  floor. 
Oo-oo-oo 

6  And  from  its  eyes  and  nose  and  chin 

Oo-oo-oo 
The  worms  crawled  out,  the  worms  crawled  in. 
Oo-oo-oo 

7  The  woman  to  the  parson  said : 

Oo-oo-oo 
'Shall  I  look  so  when  I  am  dead?' 
Oo-oo-oo 

8  The  parson  to  the  woman  said  : 

'Boo!!!' 

B 

'TheiL'  Was  an  Old  Woman  All  Skin  and  Bones.'  A  revised  version 
sent  in  by  Miss  Fussell  with  this  explanation:  "'The  Old  Woman  All 
Skin  and  I'ones'  must  be  clianged  some.  My  mother  sang  it  to  me  this 
afternoon  and  I'm  sending  you  the  stanzas  that  are  changed,  and  several 
more  stanzas  that  I  could  not  rememlu-r  when  I  sang  it  into  the  Edi- 
phone."  But  this  revised  text  does  not  really  differ  much  from  A ; 
chiefly  in  the  placing  of  the  groan  that  constitutes  the  refrain,  which  in 
this  revision  comes  not  after  each  line  but  only  after  each  cou])let.  It 
ends  : 

And  the  worms  crawled  in  and  the  worms  crawled  out 
And  the  worms  did  crawl  all  round  about. 
Oo-oo-oo-oo 


L  U  L  I.  A  r.  ]   K  S      AND      N  U  K  S  K  K  V      K   11   Y  M   K  S  I9I 

'Vhv  woman  to  llic  ])r(.'acher  said: 
"Will  I  look  so  when  1  am  dead?' 

(   )o-()0-00-00 

And  Miss  Fussell  adds:  "Tliis  is  all  Mother  can  ii'meinbcr  distinctly, 
but  there's  one  more  stanza  wiiich  is  about  the  woman  swooning  and 
falling  dead  on  the  Hoor." 

C 

'The  Old  Woman  All  Skin  and  Bones.'  Taken  down  by  Miss  Jean 
Holeman  of  West  Durham  in  1922  from  the  singing  of  Mrs.  R.  D. 
Blacknall.  The  te.xt  is  the  same  as  B  with  the  addition  at  the  close  of 
the  stanza  that  Mrs.  Fussell  did  not  remember;  the  same  as  A  8. 

D 

'There  Was  an  Old  Woman.'  From  Miss  Kate  S.  Russell  of  Roxboro, 
Person  county,  in  1923  or  thereabouts.  A  somewhat  reduced  version. 
The  refrain  is  here  hummed  rather  than  groaned. 

1  There  was  an  old  woman  skin  and  bones 

M-M-M-M-M-M-M 

2  This  woman  had  the  mind  to  pray ; 
'Twas  on  a  Sahl)ath  day. 

M-M-M-M-M-M-M 

3  This  woman  thought  to  church  she'd  go 
To  hear  the  parson  preach  and  pray. 

M-M-M-M-M-M-M 

4  As  she  got  to  the  church  door 

She  spied  a  corpse  lying  on  the  floor. 
M-M-M-M-M-M-M  '^ 

5  This  woman  to  the  parson  said. 
'Will  I  look  so.  when  I'm  dead?' 

M-M-M-M-M-M-M 

6  The  parson  to  the  woman  said : 

'Yes,  you'll  look  so  when  you  are  dead.' 
M-M-M-M-M-iM-M-BOO ! ! ! 

E 

'There  Was  an  Old  Woman  All  Skin  and  Bones.'  Contributed  by  Miss 
Mary  Morrow,  (ireensboro,  Guilford  county,  in  1928.  This  has  the 
humming  refrain  like  D,  and  changes  the  story  somewhat.  .After  four 
stanzas  as  in  C  it  runs  thus  : 

5  And  when  she  opened  the  door 
Her  shadow  floated  on  the  floor. 

6  And  when  they  turned  to  the  door 
Behold,  her  corpse  lay  on  the  floor. 


192  NORTH     CAROLINA     FOLKLORE 

7  And  when  they  carried  her  out  the  door 
The  poor  old  woman  was  seen  no  more. 

8  But  when  they  open  the  old  church  door 
They  see  her  ghost  lie  on  the  floor. 

Exactly   the  same  text  appears   also  in   Lucy   R.   Cobb's   M.A.   thesis   at 
Duke.  ■ 


'Old  Skin  and  Bones.'  Contributed  in  1922  by  Miss  Jennie  Belvin  of 
Durham.  Here  again  the  refrain  is  hummed ;  it  is  "her  corpse"  that  the 
old  woman  sees  on  the  ground ;  and  the  piece  "closes  with  a  fearful 
yell;  the  singer  jumps  at  the  listener  and  gives  the  yell." 


'There  Was  a  Lady,  Skin  and  Bone.'  Collected  by  John  A.  Lomax  and 
published  by  him  in  the  North  Carolina  Booklet,  xx,  No.  i,  pp.  27-9. 
Here  the  lady  sees  not  a  corpse  but  a  ghost  lying  on  the  ground,  and  the 
closing  dialogue  is  between  her  and  this  "spirit." 

H 

'Skin  and  Bones.'  Contributed  by  Miss  Madge  T.  Nichols  of  Durham 
county  in  1922.  Here  there  is  no  corpse  or  shadow  or  ghost,  so  that 
the  point  of  the  story  is  pretty  much  lost. 

1  There  was  an  old  woman  all  skin  and  bones, 
Skin  and  bones,  skin  and  bones, 

There  was  an  old  woman  all  skin  and  bones 
uin  um  um 

2  This  old  woman  went  to  church  one  day 
To  hear  the  minister  preach  and  pray, 
This  old  woman  went  to  church  one  day 

um  um  um 

3  This  old  woman  to  the  minister  said, 
'I  feel  so  bad,  so  bad.  so  bad.' 
This  old  woman  to  the  minister  said 

um  um  um 

4  The  minister  to  this  old  woman  said, 
'You  look  so  bad,  so  bad,  so  bad,' 
The  minister  to  this  old  woman  said 

um  um  um 


'There  Was  an  Old  Woman.'  Reported  by  Edna  Whitley,  but  without 
indication  of  time  or  place.  Here  again  the  core  of  the  story  is  lost. 
Perhaps  it  is  simply  a  case  of  defective  memory.  No  refrain  is  indicated. 

I     There  was  an  old  woman, 
She  was  all  skin  and  bones, 
All  skin  and  bones. 


LULL  A  15  1  K  S     A  N  1)     N  U  R  S  K  K  Y      K  H   Y  M  K  S  1 93 

2  She  lived  alone, 
She  lived  all  alone. 

3  She  said  she  was  going  to  ])reaching  once  more, 
She  said  she  was  going  to  preaching  once  more. 

4  She  went  to  preaching  once  more, 
.She  went  to  preaching  once  more. 

5  I  When  I  she  got  there  she  knocked. 
And  the  preacher  said  'Boo.' 

143 
What  Are  Little  Girls  Made  Of? 

This  English  nursery  rhyme  (Halliwell  119,  Riinl)ault  72-3)  is 
presumably  known  all  over  the  United  States  but  seems  to  have 
swum  into  the  ken  of  ballad  collectors  only  in  Ontario  (JAFL  xxxi 
92),  Virginia  (FSV  193).  and  Kentucky  (SharpK  11  334-5). 

No  title.  Reported  by  Miss  Gertrude  Allen  (afterwards  Mrs.  Vaught) 
from  Taylorsville,  Alexander  county,  in  1923.  In  each  stanza  the  ques- 
tion line  is  repeated  once,  and  the  conclusion  to  the  answer  is  repeated 
once,  making  a  five-line  stanza,  here  written  out  only  for  the  first  stanza. 

1  What  are  little  girls  made  of? 
What  are  little  girls  made  of  ? 
Sngar  and  spice  and  all  that's  nice, 
And  that's  what  they  are  made  of. 
That's  what  they  are  made  of. 

2  What  are  little  hoys  made  of  ? 
lUickets  and  hails  and  pnppy  dog  tails. 

•3     What  are  yonng  girls  made  of? 

Ribbons  and  roses  and  sweet-smelling  i)osies. 

4  What  are  young  men  made  of  ? 

Stiff  cuffs  and  collars  and  a  few  paper  dollars. 

5  What  are  old  maids  made  of  ? 
Ruffles  and  laces  and  old  sour  faces. 

6  What  are  old  men  made  of? 

Cradles  and  wheels  and  the  Devil's  heel. 

7  Wdiat  are  old  women  made  of? 

Rocks  and  reels  and  old  spinning  wiieels. 

144 

Neighbor  Jones 

These  nonsense  verses  I  have  found  nowhere  else.  Possibly  they 
are  a  college  song. 

X.C.F.,    \'(.l.    III.    (15) 


194  NORTH     CAROLINA     FOLKLORE 

'Neighbor  Jones.'     Reported  by  K.  P.  Lewis  as  set  down  from  the  sing- 
ing in  1910  of  Dr.  Kemp  P.  Battle  of  Chapel  Hill. 

1  Good    morning,    neighbor    Jones,    how    do    you    do    this 

morning  ? 
Good    morning,    neighbor    Jones,    how    do    you    do    this 

morning  ? 
I  have  for  you  for  you  for  you,  for  you  for  you,  for  you 

for  you 
A  budget  full  of  wonders,  neighbor  Jones. 

2  The  old  white  cow's  got  a  calf  way  down  in  yonder  stable, 
The  old  white  cow's  got  a  calf  way  down  in  yonder  stable. 
And  she  can't  eat  hay  hay  hay,  hay  hay  hay,  hay  hay  hay, 
Because  she's  not  able,  neighbor  Jones. 

3  The  old  duck  swallowed  a  snail,  is  it  not  a  wonder? 
The  old  duck  swallowed  a  snail,  is  it  not  a  wonder  ? 
The  horn  grew  out  through  her  brain  brain  brain,  brain 

brain  brain,  brain  brain  brain. 
And  split  her  head  asunder,  neighbor  Jones. 


145 
Whistling  Girls  and  Crowing  Hens 

This  notion — but  not  the  name  "Grandma  Grunts' — has  been  re- 
ported from  Ontario  (JAFL  xxxi  103),  Connecticut  (JAFL  xlv 
502),  and  from  the  Pennsylvania  Germans  (JAFL  11  198).  It  is 
probably  much  more  widely  known  than  this  list  would  indicate 
but  has  not  happened  to  come  into  the  net  of  the  folk-song  collector. 

'Grandma  Grunts.'  Text  from  the  manuscripts  of  Obadiah  Johnson  of 
Crossnore,  Avery  county,  in  July  1940.  He  did  not  sing  it,  however ; 
the  record  of  it  was  made  in  August  from  the  singing  of  Clarice  Burleson 
and  Joe  Powles. 

I     Grandma  Grunts  said  a  curious  thing : 
Boys  can  whistle,  but  girls  must  sing. 
That  is  what  I  heard  her  say, 
'Twas  no  longer  than  yesterday. 

Refrain: 

Boys  can  whistle  (zvhistle) 
(jirls  must  sing  {tra  la  la  la) 


Boys  can  whistle,  of  course  they  may 
They  can  whistle  the  livelong  day. 
Why  can't  girls  whistle  too,  pray  tell, 
If  they  manage  to  do  it  well? 


L  U  L  1.  A  I!  1  E  S     AND     N  U  R  S  I-  K  Y     K  II  Y  M  I£  S  I95 

3  (Irandma  Grunts  says  it  wouldn't  do, 
Gives  a  very  good  reason,  too ; 
Whistling-  girls  and  crowing  hens 
Always  come  to  some  bad  end. 

4  I  asked  my  papa  the  reason  why 
Ciirls  couldn't  whistle  as  well  as  I. 
He  says  to  me,  'It's  the  natural  thing 
For  boys  to  whistle  and  girls  to  sing.' 

146 

Little  Birdie  in  the  Tree 

This  is  from  some  unnamed  contributor,  very  likely  Dr.  Brown 
liimself.  The  manuscript  is  marked:  "Found  in  Guilford  county 
near  High  Point.  Sung  by  Negroes  before  the  Civil  War";  and 
Dr.  White  notes  that  it  is  "a  corruption  of  a  nursery  song  I  heard 
in  my  own  early  childhood  and  can  still  sing."  Our  fragment  is 
the  first  stanza,  slightly  altered,  of  a  song  of  the  same  title  by 
P.  P.  Bliss  to  be  found  in  the  Franklin  Square  Song  Collection  i  140 
dealing  with  a  series  of  birds — the  redbird,  snowbird,  bluebird, 
blackbirtl. 

Little  birdie  in  the  tree. 
Singing  a  song  to  me, 
Singing  about  the  roses, 
Singing  about  the  tree  ; 
Little  birdie  in  the  tree 
Singing  a  song  for  me. 

147 
Howf  I  Love  the  Old  Black  Cat 

This  has  been  reported  as  folk  song  from  Mississippi  (JAFL 
XXVI  130),  and  Dr.  White  notes  on  the  manuscript  that  he  knew  it 
in  childhood  in  western  North  Carolina  as  a  nursery  song.  Its 
origin  has  not  been  discovered. 

'How   I   Love  the  Old   Black   Cat.'     Rcix)rtc(l   in   1922  by   Mary   Straw- 
bridge.  Durham. 

I      Who  so  full  of  fun  and  glee? 
Happy  as  a  cat  can  be. 
Polished  sides  so  nice  and  fat. 
How  I  love  the  old  black  cat ! 
Yes,  I  do. 

Chorus: 

Poor  kitty,  oh,  poor  kitty. 
Sitting  so  cozy  close  to  the  fire, 


196  NORTH  CAROLINA  FOLKLORE 

Pleasant,  purring,  pretty  pussy, 
Frisky,  full  of  fun  and  fussy, 
Mortal  full  of  mouse  and  rat. 
How  I  love  the  old  black  cat ! 
Yes,  1  do. 

2  And  the  boys,  to  have  some  fun, 
Call  the  dogs  to  set  them  on. 
Quickly  I  jump  on  my  hat 

And  try  to  save  the  old  black  cat. 
Yes,  I  did. 

3  Some  may  choose  tartar^  shell. 
Others  like  the  white  so  well. 
Let  them  choose  of  this  or  that. 
But  give  to  me  the  old  black  cat. 
Oh,  please  do ! 


148 
I've  Got  a  Master  and  I  Am  His  Man 

This  looks  like  an  English  ballad  or  nursery  rhyme,  but  I  have 
not  found  it  anywhere  in  print.  Mrs.  Sutton  says,  "There  are  a 
dozen  verses  more  or  less;  I  copied  four";  but  only  one  stanza  is 
now  to  be  found  in  our  collection. 

'Oh   I've  Got  a   Master  and   I  Am   His   Man.'     Communicated   by   Mrs. 
Sutton  but  without  notation  of  date  or  source. 

Oh.  I've  got  a  master  and  I  am  his  man. 
Galloping  steadily  on. 
Oh,  I've  got  a  master  and  I  am  his  man. 
I'll  marry  me  a  wife  as  soon  as  I  can. 
With  a  higglety  pigglety.  gambling  gay, 
Iligglety  pigglety.  gambling-  gay, 
Galloping  steadily  on. 


149 

The  Cobbler 

Another  song  about  the  shoemaker  has  been  reported  from  North 
Carolina   (SbarpK  11  75),  but  this  one  I  have  not  found  elsewhere. 

'Walking  up  and  down  One  Day.'     Obtained  in  i()23  from  Carl  G.  Knox 
of  Durham.    With  the  music. 

'  So  in  tile  manuscript.  W'iictlicr  this  is  a  local  pronunciation  of  "tor- 
toise" or  just  a  misapprehension  of  the  word  the  editor  does  not  know. 

"  So  spelled  both  times  in  the  manuscript ;  presumably  with  the  meaning 
"gamboling." 


L  r  I.  I-  A  U  I  F.  S      A  X  1)      X  r  K  S  K  R  ^■      K  11   Y  M  K  S  1 97 

Walking  up  and  down  one  day, 
1  peci)ed  in  the  window  over  the  way. 
I'ushing  his  needle  through  and  through. 
There  sat  a  cobhler  making  a  shoe. 

'Rap-a-tap-tap-tap,  ticky-tacky-too, 
This  is  the  way  to  make  a  shoe. 
Rap-a-tap-tai)-tap,  ticky-tacky-too, 
This  is  the  way  to  make  a  shoe.' 

'50 

SCOTLA  N  U'S  B  URN  1  NG 

An  old  English  round  rarely  reported  as  folk  song,  probably  be- 
cause evervbodv  knows  it.  It  is  reported  from  Massachusetts 
(FSONE  283).' 

'Scotland's  Burning.'     Reported  by  K.  P.  Lewis  of  Durham  as  set  down 
in  1910  from  the  singing  of  Dr.  Kemp  P.  Battle  of  Chapel  Hill. 

Scotland's  burning,  Scotland's  burning, 

Look  out,  look  out. 

Fire !  Fire  !  Fire  !  h^ire  ! 

Pour  on  water,  ]X)ur  on  water ! 

Steam  Ship 

This  is  in  form  a  riddle,  but  the  editor  is  in  the  position  of  tlie 
child  in  the  last  line.     I  have  not  found  it  elsewhere. 

'Steam  Ship.'     Contributed  in  1923  or  thereal)uuts  by  Miss  Kate  .S.  Rus- 
sell of  Roxboro,  Person  county.     With  the  music. 

1  If  a  steam  ship  weighed  ten  thousand  tons 
And  sailed  five  thousand  miles 

Loaded  down  with  boots  and  shoes 
And  lots  of  other  things ; 

2  If  the  mate  was  each  six  feet  tall 
And  the  captain  just  the  same  ; 
Would  you  nudtiply  or  suljtract 
To  find  the  captain's  name? 
H-mm-m-mn-m-nm 

3  You  can  think  and  think,  and  think 
Till  your  brain  is  nundj ; 

I  don't  care  what  the  teacher  says, 
I  can't  do  this  sum. 


VI 
JINGLES    ABOUT    ANIMALS 


FOLKLORE  in  North  Carolina  (in  other  regions  too,  of  course, 
Ijut  especially,  1  believe,  in  the  Southern  states)  abounds  in 
rhymes  and  jingles  about  birds,  beasts,  and  other  animate  creatures. 
Among  the  birds  the  jay — noisy,  impudent,  and  sly — is  the  favorite, 
but  the  buzzard,  the  owl,  the  raven,  the  crow,  the  blackbird,  the  wood- 
pecker, the  whippoorwill,  the  sapsucker,  the  robin,  the  sparrow,  the 
tomtit,  the  cuckoo,  the  partridge,  and  in  love  songs  the  mourning 
dove  also  appear,  and  of  domestic  fowl  the  turkey,  the  goose,  the 
duck,  chickens,  and  even  the  clamorous  guinea  fowl.  Of  four- 
footed  creatures  those  that  are  hunted  for  food  are  remembered 
most  often,  the  rabbit,  the  opossum,  the  raccoon,  the  groundhog, 
the  squirrel ;  "varmints"  too — the  wildcat,  the  rat,  the  mouse,  the 
weasel,  even  the  lowly  mole — are  not  forgotten.  Domestic  animals 
are  there,  of  course,  the  horse,  the  mule — with  which  the  Negro 
seems  to  have  established  special  relations — the  cow,  the  sheep,  the 
goat,  the  hog,  and  the  cat.  Exotic  creatures  of  the  circus,  the 
elephant,  the  monkey,  the  kangaroo,  claim  a  place.  In  the  zoolog- 
ically lower  orders  we  find  the  frog,  the  tadpole,  the  lizard,  the 
terrapin,  and  snakes.  Of  fish  only  the  catfish,  delight  of  fish  fries, 
and  the  shad  are  included — unless  we  count  Jonah's  whale  a  fish. 
Of  the  insects  flies  (including  bluebottles),  bees,  hornets,  junebugs, 
grasshoppers,  fleas,  mosquitoes. 

Not  all  of  these  appear  in  this  section  of  Songs.  Often  the 
jingles  form  parts  of  the  longer  medleys,  like  'Old  Dan  Tucker,' 
'Uncle  Joe  Cut  Ofif  His  Toe,'  'Old  Joe  Clark,'  which  will  be  found 
among  the  Play-Party  Songs ;  or  they  are  themselves  such  songs, 
as  is  the  case  with  'Pop  Goes  the  Weasel,'  'Turkey  in  the  Straw,' 
'Shoot  the  Buffalo,'  'Pig  in  the  Parlor,'  'Poor  Little  Kitty  Puss.' 
Very  many  of  them  are  nursery  songs  or  rhymes:  'The  Barnyard 
Song,'  'McDonald's  Farm,'  'The  Frog's  Courtship,'  'Kitty  Alone,' 
'Poor  Little  Lamb  Cries  "Mammy,"  '  and  others.  Some  we  have 
classed  as  Work  Songs :  'Old  Blue,'  'The  Ground  Hog,'  'Old  Bob 
Ridley.'  .So  that  the  items  assembled  in  this  section  are  those  that 
do  not  fit  readily  into  any  of  the  other  classes  of  songs. 

How  many  of  these  are  of  Negro  origin  it  is  hard  to  say.  Very 
few  of  our  texts  are  described  by  the  contributors  as  sung  by 
Negroes.     But  many  of  them  are  reported  by  other  collectors  as 


J  I  N  (i  L  K  S     A  I!  OUT     ANIMALS  199 

Negro  songs.  Some  of  them  are  old  Englisli  rhymes:  '1  Had  a 
Little  Horse  Whose  Name  Was  Jack'  and  probably  'Said  the  Black- 
bird to  the  Crow'  and  'My  Old  Sow's  Nose';  'Row  the  Boat  Ashore' 
derives  from  a  chanty;  'What  Makes  the  Wildcat  Wild'  looks  like 
a  nonsense  song  of  college  boys.  Some  seem  pretty  certainly  to 
have  achieved  currency  as  minstrel  stage  products :  'The  Billy  Goat,' 
'lohnson's  Mule,'  'The  Kicking  Mule,'  'The  Preacher  Song,'  'The 
Animal  Fair.'  But  one  can  seldom  be  sure  that  the  songs  of  the 
burnt-cork  boys  have  not  been  caught  up  from  the  Negro  in  the 
cotton  patch  or  the  construction  gang;  certainly  many  of  them  are 
now  traditional  songs  of  the  blacks.  And  there  is  often  in  these 
i ingles,  especially  those  about  the  rabbit,  the  coon,  the  possum,  and 
the  terrapin,  a  sly  humor  that  seems  native  to  Uncle  Remus. 

152 
Birds  Courting 

As  Barry  pointed  out  in  his  notes  on  the  New  England  versions 
(BFSSNE'  XII  19),  this  goes  back  to  a  seventeenth-century  English 
ballad  'The  Woodv  Queristers,'  found  in  the  Roxburghe.  Pepys, 
and  Douce  collections  {Roxburghe  Ballads  vi  301-3)-  Some  twenty 
birds  speak  in  the  English  ballad;  only  the  owl,  turtledove,  redbird. 
jaybird,  sparrow,  and  raven  appear  in  our  North  Carolina  texts. 
The  song — songs,  perhaps  one  should  sav — is  known  in  Maine 
(BFSSNE  XII  19).  Vermont  (BFSSNE  xii  20),  Virginia 
(SharpK  11  304),  and  North  Carolina  (SharpK  11  304),  and  some- 
thing resembling  it  has  been  reported  from  Florida  (SFLQ  viii 
181).  Our  texts  are  less  elegiac  than  the  English  song;  they  are 
suggestive  of  the  social  satire  in  such  songs  as  'When  Young  Men 
Go  A-Courting'  (p.  394).  See  also  'Said  the  Blackbird  to  the 
Crow,'  below. 

A 
'The  White  Owl  with  the  White  Head.'     Obtained  from  J.  R.  Midgett 
of  Wanchese,  Roanoke  Island,  probably  in  1922.     With  tlie  tune,  as  sung 
by  Mr.  or  Mrs.  C.  K.  Tillett  in  December  1922. 

1  In  came  the  owl  with  his  head  rig:ht  white  : 
'Lonesome  day  and  a  lonesome  night. 

I  thought  I  heard  some  pretty  girl  say, 
"Court  all  night  and  sleep  next  day."  ' 

2  Tn  come  the  lonely  turtle  dove : 
'That  is  not  the  way  to  keep  her  love. 
If  you  want  to  gain  her  heart's  delight 
Keep  her  up  hoth  day  and  night.' 

3  Up  stepped  the  sparrow  as  he  flew : 
'If  I  was  a  young  man  I'd  have  two; 
If  one  forsake  me  and  from  me  go 

I'd  still  have  a  string  to  my  how,  how,  how.' 


200  NORTH  CAROLINA  FOLKLORE 


No  title.  From  Miss  Gertrude  Allen  (later  Mrs.  \"aught),  Taylorsville, 
Alexander  county.  Not  dated.  The  first  stanza  almost  identical  with 
the  first  of  A ;  the  second  runs  : 

'Oh,'  said  the  raven  as  he  flew. 

If  I'd  been  a  young  man  I'd  have  two; 

One  might  forsake  me  and  the  other  might  go. 

Still  I'd  have  a  string  to  my  bow,  bow,  bow.' 

c 

No  title.  Reported  by  \'.  C.  Royster  from  Wake  county  with  the  nota- 
tion :  "Before  the  Civil  War — personal  recollections  refreshed  by  talking 
with  other  old  people." 

1  Said  the  sparrow  in  the  grass, 

'I  wish  I  had  my  bottle  and  glass 
And  my  true  love  to  drink  with  me ; 
Then  oh,  how  happy  I  would  be !' 

Refrain : 

To  my  rye  fol  dol  de  diddle  dol  day 
To  my  rye  fol  dol  de  diddle  dol  day 

2  Said  the  lonesome,  lonesome  dove, 

T'll  tell  you  a  better  way  for  to  gain  her  love: 
Keep  her  up  all  night  and  all  the  next  day 
And  never  give  her  time  to  say  "Go  'way !"  ' 

D 

'Bird  Song.'  Reported  in  1923  by  Mrs.  Nilla  Lancaster  from  Wayne 
county.  This  has  no  element  in  common  with  A,  but  its  chorus  and  its 
first  stanza  link  it  with  C,  as  C  is  linked  by  its  second  stanza  with  A. 

1  'Long  came  a  jay  bird,  hopping  in  the  grass. 
With  his  bottle  and  his  glass. 

'Say,  fine  lady,  won't  you  drink  with  me? 
Oh,  how  happy  we  will  be !' 

Chorus: 

Rye  fol  dol  dol  dil  dol  da 
Rye  fol  dol  dol  dil  dol  da 

2  'Whoop-dy  doopty'  went  the  old  owl.  sitting  on  a  limb. 
Learning  how  to  tailor  so  as  to  cut  him  out  a  coat ; 
Every  fine  lady  he  saw  pass  by 

Nod  his  head  and  wink  one  eye. 

3  Says  the  redbird  to  himself. 
'Meat  and  bread  upon  the  shelf; 
Wouldn't  be  afraid,  bet  my  life. 
Fetch  her  home  to  be  my  wife.' 


J  I  N  c;  L  E  S     A  B  O  IT  T     ANIMAL  S  201 

The  Jaybird 

The  jay,  with  his  confidence  and  his  impudence,  appears  to  have 
struck  the  folk  fancy,  especially  of  the  Negroes.  His  death  by 
whooping-cough  is  sung  in  South  Carolina  (JAFL  xmv  425),  Ala- 
bama (ANFS  243),  and  Mississippi  (JAFL  xxvi  133-4),  and  is 
reported  without  specific  location  by  Mrs.  Richardson  (AMS  99) 
and  Talley  {Negro  Folk  Rhymes  36).  Snatches  more  or  less  like 
the  second  stanza  of  A  are  known  in  Virginia  (FSV  201),  Ten- 
nessee (BTFLS  II  30),  North  Carolina  (JAFL  xxvi  131),  Georgia 
(SharpK  11  305),  and  Iowa  (JAFL  xliv  170),  as  a  square-dance 
song  in  the  Midwest  (Ford,  Traditional  Music  of  America  96), 
and  as  sung  by  Negroes  in  the  South   (Talley   14-15,  TNFS   191  ). 


'Jay  Bird  Died  with  the  Whoopingcough.'  Obtained  in  1927  by  JuHan 
P.  Boyd  from  Minnie  Lee,  pupil  in  the  school  at  Alliance,  Pamlico 
county. 

1  Jay  bird  died  with  the  whoopingcough. 
Black  bird  died  with  the  colic ; 

'Long  came  a  toad-frog  with  his  tail  bobbed  off 
And  that  broke  up  the  frolic. 

2  He  winked  at  me  and  I  winked  at  him. 

I  picked  up  a  piece  o'  l)rickbat  and  hit  him  on  the  chin. 
He  says,  '(3h,  little  man,  don't  do  that  again !' 
And  that  broke  up  the  frolic. 


'Jaybird  Died  with  the  Whoopingcough.'  Communicated  hy  Thomas 
Smith  of  Zionville,  Watauga  county,  probably  in  1913  or  thereabouts, 
as  a  "dance  song — fiddle  and  banjo,"  known  to  have  been  sung  and 
played  there  "nearly  eighty  years  ago." 

Jaybird  died  with  tlie  whoopingcough. 
Sparrow  died  with  the  colic. 
On  came  a  frog  with  a  fiddle  cm  his  back 
Inquiring  the  way  to  the  frolic. 


'Way  Down  Yonder  a  Long  Way  Off.'  Reported  in  1914  by  Charles  R. 
Bagley  of  Moyock,  Currituck  county,  as  learned  from  his  grandparents 
there. 

Way  down  yonder,  a  long  way  oiT. 
.\  jay  bird  died  with  the  whooping  cough. 
StilT  shirt  collar,  three  rows  of  stitches. 
Square-toed  boots  and  short-legged  breeches. 


NORTH  CAROLINA  FOLKLORE 


No  title.  Reported  by  V.  C.  Royster  of  Wake  county  as  having  come 
down  from  before  the  Civil  War — "personal  recollections  refreshed  by 
talking  with  other  old  people." 

A  jay  bird  sal  on  a  hickory  limb. 

He  winked  at  ine,  I  winked  at  him. 

I  picked  up  a  rock  and  hit  him  on  the  shin ; 

Says  he,  'Okl  fellow,  don't  you  do  that  again.' 

154 
Redbird  and  Jaybird 

For  other  jingles  about  the  jay,  see  pp.  201-2.  A  number  of 
rhymes  about  him  are  reported  by  Perrow  from  Mississippi,  gath- 
ered from  both  blacks  and  whites  (JAFL  xxvi  133),  and  by  Miss 
Scarborough  (TNFS  no,  in)  and  Talley  (Negro  Folk  Rhymes 
14-15)  from  the  blacks,  but  none  of  them  is  just  the  same  as  our 
texts. 

A 

'When  I  Went  Down  to  Sycamore  Town.'  Found,  without  indication 
of  its  source,  written  down  on  the  back  of  a  Folk-Lore  Society  card  and 
dated  October  30,  1920.  Probably  Dr.  Brown  got  his  informant  to  write 
it  down  but  omitted  to  add  the  informant's  name.  The  jaybird  and  the 
redbird  appear  only  in  the  last  stanza. 

1  When  I  went  down  to  Sycamore  town 
The  water  was  wide  and  deep. 

I  hopped  upon  an  old  gray  goose 
And  galloped  across  the  creek. 

2  When  I  first  got  on  the  other  side 
The  first  thing  met  my  mind 

I  saw  twelve  partridges  pulling  a  plow, 
With  the  foremost  one  behind. 

3  The  jaybird  sat  on  the  redbird's  nest. 
The  redbird  sat  and  mourned. 

The  blind  man  sat  and  shopped  his  shoe, 
And  the  boatman  blowed  his  horn. 

B 

'Red  Bird  Sitting  in  a  Jay  Bird's  Nest.'  Contributed  by  Charles  F.  Bag- 
ley  in  1914,  as  learned  from  his  grandparents  in  Moyock,  Currituck 
county.  Olxservc  that  tlic  position  of  the  two  birds  is  here  reversed  from 
what  it  is  in  A. 

Redbird  sitting  in  jaybird's  nest. 

Jaybird  sitting  in  de  morn. 

Oh,  look  at  the  blind  man  sewing  up  tlie  shoe 

And  tlie  dead  man  just  comin":  to. 


JIN  C,  L  K  S     A  n  0  LI  T     A  N  I  M  A  I,  S  203 

JAYHiRi)  I'l'  IN  Till':  'Simmon  Tri<:I': 

See   the   headnotes   to   'The   jayhird,'   ahoxc,    and    'Possum   Up   a 
"Sininion  Tree,'  below. 


'Jaybird  Up  in  the  'Simmon  Tree'  From  Thomas  J.  Gill,  Jr.,  a  Trinity 
College  student  (A.B.  1914),  witli  later  address  Laurinburg,  North 
Carolina. 


Jaybird  up  in  the  'siiiiinon  tree. 
Sparrows  on  the  ground  ; 
Jaybird  knocks  the  'sininions  down, 
Sparrows  hand  them  round. 


Another   copy,    slightly   different,    from    the    same   informant.      This   has 
"sparrow"  instead  of  "sparrows"  and  "shake"  instead  of  "knocks." 

156 

Said  the  Blackbird  to  the  Crow 

Here  to  the  basic  stanza — A,  the  first  stanza  of  B  and  C,  and 
the  last  stanza  of  D  and  E — have  been  added  divers  stanzas  deal- 
ing with  the  love  affairs  of  birds,  very  much  in  the  fashion  of  the 
songs  given  above  under  the  title  'Birds  Courting.'  Davis  (FSV 
202-3)  reports  it  from  Virginia  and  Randolph  (OPS  ii  355-7) 
has  versions  from  Arkansas  and  Missouri. 


'Said  the  Blackbird  to  the  Crow.'     Reported  in  191 5  by  K.  P.  Lewis  as 
obtained  from  Dr.  Kemp  P.  Battle  of  Chapel  Hill. 

Said  the  blackl)ird  to  the  crow, 
'What  makes  white  folks  hate  us  so?' 
*Oh,  ever  since  okl  Adam  was  born 
It's  been  our  trade  to  pull  up  corn. 
And  that's  why  white  folks  hate  us.' 


'Said  the  P.Iackl)ird  to  the  Crow.'  From  Mrs.  Laura  M.  Cromartie, 
Garland,  Sampson  county.  Not  dated.  One  su])poscs  that  tiie  first  per- 
son pronoun  at  the  beginning  of  each  stanza  has  crept  in  from  the 
answers  in  the  familiar  nursery  rhyme  'Who  Killed  Cock  Robin?' 

I      I,  said  the  blackbird  to  the  crow, 
'What  makes  white  folks  hate  us  so?' 
"Cause  pull  up  corn  has  been  our  trade 
Eber  since  old  Adam  was  made.' 


204  X  ()  K  T  H      CAROLINA      FOLKLORE 

2  I,  said  the  tomtit  as  he  run, 
'Oh,  if  I  had  a  bottle  of  rum 

An'  two  pretty  girls  to  drink  with  me. 
Oh,  how  happy  I  would  be !' 

3  I,  said  the  wood  peck  in  the  tree, 
'I  once  courted  a  fair  laidee. 

She  grew  fickle  and  from  me  fled  ; 
Eber  since  my  head's  been  red." 

c 

'The  Blackbird  and  the  Crow.'  From  Obadiah  Johnson  of  Crossnore, 
Avery  county,  in  1920. 

1  Blackbird  says  unto  the  crow, 
'The  reason  why  we're  hated  so, 
Ever  since  old  Adam's  been  born 
It's  been  our  trait  to  pull  up  corn.' 

2  'Hi,'  says  the  blackbird,  sittin'  on  a  chair, 
'Once  I  courted  a  lady  fair ; 

She  proved  fickle  and  turned  her  back. 
And  ever  since  then  I've  dressed  in  black.' 

3  'Hi,'  says  the  woodpecker,  sittin'  on  a  fence, 
'Once  I  courted  a  handsome  wench  ; 

She  proved  fickle  and  from  me  fled. 
And  ever  since  my  head's  been  red.' 

4  'Hi,'  says  the  robin  as  away  he  flew, 
'When  I  was  a  young  man  1  chose  two. 

If  one  didn't  love  me,  the  other  one  would. 
And  don't  you  think  my  notion's  good?' 

D 

'Sapsuck  A-Sucking  Up  a  Hollow  Gum  Tree.'  Reported  by  Charles  R. 
Hagley  in  1913  from  Moyock,  Currituck  county,  as  learned  from  his 
grandparents  there. 

1  .Sapsuck  a-sucking  up  a  hollow  gum  tree : 
'Once  I  comled  a  fair  ladie  ; 

She  proved  false  and  from  me  fled  ; 
Ever  since  my  head's  been  red.' 

2  Up  stepped  the  blackbird,  said  to  the  crow, 
'What  makes  the  farmer  hate  us  so?' 

'It's  been  the  case  ever  since  I've  been  born, 
'Cause  we  jnill  up  the  farmer's  corn.' 


'Too  Hoo,  Says  de  Owl.'     I-"r(jm  Miss  Jean  Holeman  of  Durham  in  1922. 
With    the    music.      Perhaps    a    chance    putting    together    of    two    familiar 


JINGLE  S     A  B  0  IT  T     A  N  I  M  A  L  S  205 

stanzas.      The    first    is   similar   to   the   final    stanza   of   'Hidi    (Jiiili    Lodi 
Quili,"  which  will  be  found  in  the  section  on  Work  Songs. 

1  'Too-hoo  !'  .says  de  owl  a-settin'  in  de  tree, 
'What's  to  come  o'  yoti  an'  me? 

De  creek's  all  mnckly  an'  de  pon's  all  dry. 
If  'twan't  fer  de  tadpoles  we'd  all  die.' 

2  Says  de  blackbird  to  de  crow, 
'What  makes  white  folks  hate  lis  so? 
Ever  since  I  been  born 

Been  my  trade  to  pull  up  corn.' 

157 
The  Crow  and  thk  Weasel 

Of  the  many  jingles  about  birds,  beasts,  and  fishes  current  among 
both  whites  and  blacks  in  the  Southern  states,  this  one  seems  to 
have  escaped  the  eyes  of  collectors. 

'The  Crow  He  Peeped  at  the  Weasel.'     Reported  by  K.   P.  Lewis  from 
the  singing  in  1910  of  Dr.  Kemp  P.  Battle  of  Chapel  Hill. 

The  crow  he  peeped  at  the  weasel. 

The  crow  he  peeped  at  the  weasel. 

The  crow  he  peeped  at  the  weasel, 

AND 

The  weasel  he  peeped  at  the  crow. 

158 
Chicken  in  the  Bread  Tray 

Tliis  might  as  well,  perhaps,  be  captioned  'Granny,  will  your  dog 
bite?"  for  the  two  pairs  of  lines  commonly  go  together.  Miss  Scar- 
borough (TNFS  194)  calls  it  something  that  "every  Southerner 
knows."  It  has  been  reported  from  Virginia  (FSV  232).  Kentucky 
(Shearin  38).  Tennessee  (JAFL  xxvi  130),  South  Carolina  (JAFL 
.x.xvi  127,  .XLiv  431,  in  both  cases  from  Negroes).  Alabama  (ANFS 
241,  Negroes),  and  Talley  gives  it  in  his  Negro  Folk  Rhymes  7. 
Ford,  Traditional  Music  of  America  36.  gives  it  as  a  square-dance 
song.  It  appears  seven  times  in  our  collection,  with  little  variation 
in  form.  The  following,  reported  by  Antoinette  Beasley  of  Monroe, 
Union  county,  seems  to  be  the  standard  text : 

Chicken  in  the  bread  tray 
Scratching  out  dough. 
Granny,  will  your  dog  bite  ? 
No,  chile,  no. 

Of  the  other  texts  one,  from  Louise  Bennett  of  Middleburg,  Vance 
county,   has    "plate"    for    "tray"    and    "pickin'    up"    for    "scratching 


2o6  NORTH     CAROLINA     FOLKLORE 

out";  another,  from  Win.  C.  Daulken,  who  was  a  student  at  the 
University  of  North  CaroHna  in  1915,  has  "pickin'  up"  for  "scratch- 
ing out"  and  "mammy"  for  "granny";  another,  from  V.  C.  Royster, 
Wake  county,  adds  a  hne : 

Get  out  er  the  corner,  do,  gals,  do ; 

and  another,  from  Caroline  Biggers  of  Union  county,  has  only  the 
last  two  lines  of  the  (luatrain. 


159 
The  Old  Black  Hen 

A  scrap  somewhat  resembling  this  has  been  reported  as  sung  by 
Negroes  (Talley  37-8).     Otherwise  I  have  not  found  it. 

'Master  Had  an  Old  Black  Hen.'  Contributed  by  Mamie  Mansfield 
from  the  Fowler  School  District,  Durham  county,  in  July  1922. 

Master  had  an  old  black  hen. 
Black  as  any  bear. 
Laid  and  set  in  an  acorn  shell 
Eighteen  inches  square. 

160 
Get  Along,  John,  the  Day's  Work's  Done 

This  caption  is  not  significant,  but  one  does  not  know  how  else 
to  title  the  jingle.  The  second  and  third  lines  of  it  appear  with 
various  minor  changes  as  folk  song  in  divers  regions :  in  Ontario 
(JAFL  XXXI  115,  148),  Tennessee  (JAFL  xxvi  130),  South  Caro- 
lina (JAFL  XXII  376,  XLiv  435)  ;  in  the  Bahamas  it  is  used  as  a 
prelude  or  motto  at  the  beginning  of  folk  tales  (JAFL  xli  486- 
500)  ;  what  seems  to  be  a  trace  of  it  is  found  in  an  Indiana  play- 
party  song  (Wolford  100). 

'Get  Along,  John,  the  Day's  Work's  Done.'  Reported  by  J.  G.  Mc- 
Adams  apparently  from  .Alamance  county  as  a  "song  jingle"  "hoard 
sung  during  my  childhood." 

Get  along,   lohn,  the  day's  work's  done. 

The  goose  chewed  the  'bacco  and  the  cat  drank  the  wine, 

The  kitten  played  the  fiddle  on  the  strawberry  vine. 

161 

Possum  Up  a  'Simmon  Tree 

Variants  of  this  rhyme  are  numerous.  For  further  examples, 
from  all  parts  of  the  South,  see  Perrow  (JAFL  xxvi  131  ff.), 
Scarborough  (TNFS  173),  White  (ANFS  236-8).  It  has  been 
mixed  in  with  the  'Old  Bob  Ridley'  corn-husking  song,  too;  see  pp. 


J  I  N  C.  I.  K  .S     A  B  O  If  T     ANIMAL  S  207 

229-32.  below.  Kaiulolph  (Ol-'S  11  361  )  reports  a  stanza  from  Mis- 
souri using  the  first  two  lines  of  our  version  D.  Mrs.  Steely  found 
it  in  the  Ebenezer  coninuniity  in  Wake  county. 

A 

No  title.  From  Miss  Louise  Bennett,  .Mi(kllel)urg,  \anoe  county.  No 
date  given. 

Posstim  up  a  '.sininion  tree, 
Rabbit  on  de  ground. 
Rabbit  said  to  de  possum  dar, 
'Shake  deni  'sinmions  down.' 

B 

'Possum  Up  de  'Simmon  Tree.'  From  Miss  Eura  Mangum,  Durham, 
1922. 

Possum  up  the  'simmon  tree, 
Rabbit  on  the  ground. 
Rabbit  said  to  possum. 
Rabbit  said  to  possum, 
'Throw  some  'simmons  down.' 

c 

'Possum  Up  the  'Simmon  Tree.'  From  J.  Ben  Harris,  Warren  county. 
No  date  given. 

Possum  up  the  'simmon  tree, 
Raccoon  in  the  hollow. 
Wake  up.  Black  Snake, 
June-bug  stole  a  half  a  dolla' ! 

D 
'Possum  Up  a  Gum   Tree.'     From   Mrs.  C.  C.   Thomas,  place  and  date 
not  given. 

Possum  up  a  gum  tree, 
Cooney  in  a  hollow  ; 
Dinah's  in  the  mudhole ; 
Don't  vou  hear  her  holler? 


'Raccoon  Up  de  Tree.'  Reported  by  Jesse  L.  Peterson,  Durliam,  as 
heard  in  Sampson  county  in  191 1.     The  last  line  seems  to  he  misreported. 

Raccoon  up  de  tree, 

Possum  on  de  ground. 

Raccoon  spit  in  de  possum's  face 

'N  de  possum  slop  de  possum  down. 

F 

There  is  in  the  Collection  also  a  text  from  Afartinsville,  Virginia,  con- 
tributed probably  in  1920  by  Miss  Julia  E.  Self  (later  Mrs.  L.  E. 
Blackwell )  : 


208  N  (J  R  T  II     CAROLINA     FOLKLORE 

Possum  up  the  'sinimon  tree, 
Raccoon  on  the  ground. 
Raccoon  says  to  the  possum, 
'Shake  me  some  'simmons  down.' 

162 

De  Possum  Am  a  Cunning  Thing 

Similar  stanzas  appear  in  'Lynchburg  Town,'  but  not  the  chorus. 
See  also  the  Negro  songs  reported  by  White,  ANFS  237-8.  The 
"Sandy"  chorus  is  known  also  in  Missouri  (OFS  11  334). 

A 

'De   Possum   Am   a   Cunning   Thing.'     From   Aliss   E.   A.    Pool,   Raleigh 
(not  dated) . 

1  De  possum  am  a  cunning  thing, 
He  trabbles  in  de  dark. 
Nuthin'  't  all  disturbs  his  mind 
Twel  he  hear  ole  Ranger  hark. 

CJwnis: 

Do  come  along.  Sandy  boy. 

Do  come  along,  oh,  do. 

Don't  you  hear  de  jaybird  sing? 

O  Sandy,  won't  you  come  along  too? 

2  De  squirrel  am  a  pretty  thing. 
He's  got  a  bushy  tail ; 

He  eat  up  all  ole  Masser's  corn 
Er-settin'  on  a  rail. 

B 

'De  Possum  Am  a  Cunning  Thing.'     From  George  Lawrence  Andrews, 
Raleigh,  about  1927-29.    Almost  identical  with  A. 


'The  Raccoon  Is  a  Cunning  Thing.'     From  J.  D.  Johnson,  Jr.,  Garland, 
Sampson  county,  in  1919,  "sung  to  the  banjo  by  an  old  Negro  in  Eastern 

N.  C." 

The  raccoon  is  a  cunning  thing.  • 

He  walketh  in  the  dark, 

And  never  thinks  to  curl  his  tail 

Till  he  hears  old  Ranger  hark. 

163 

The  Raccoon  Has  a  Bushy  Tail 

This  stanza  appeared  early  in  blackface  minstrel  songs  (of. 
'Lynchburg  'IVnvn').  Davis  reports  it  from  Virginia  (FSV  319) 
and  Ran<l()l])b  from  Missouri  (OFS  11  334). 


J   I  N  ti  L  !•:  S      A  li  O  f  T      A  N  1  M  A  L  S  209 

A 

'De  Raccoon  Has  a  Bushy  Tail.'  From  James  E.  Lyon,  Jr.,  Trinity  Col- 
lege student,  December  5,  lyiy;  "heard  at  High  Point,  N.  C,  in  1911." 
With  the  music.  White  (A NFS  234)  gives  the  same  text  from  Ala- 
bama Negroes,  and  adds  tiiat  he  has  it  also  from  South  Carolina  as 
well  as  from  Lyon. 

De  raccoon  has  a  bushy  tail, 
De  possum  tail  am  bare, 
De  rabbit  has  no  tail  at  all. 
Ah  little  bunch  ub  hair. 

B 

'Raccoon  Wears  a  Bushy  Tail.'  From  Miss  Jewell  RoI)bins,  Pekin, 
Montgomery  county,  in  July   1922. 

Raccoon  wears  a  bushy  tail. 
Possum's  tail  is  bare ; 
Rabbit  he  comes  skipping  along, 
Got  no  tail  to  spare. 


No  title.  From  an  informant  identified  only  as  Hodgin,  southeastern 
N.  C.  The  chorus  is  from  'Cindy'  (given  among  Blackface  Minstrel 
songs  in  this  collection).  With  stanza  2  compare  'Jaybird  Up  in  the 
'Simmon  Tree'  above.     Stanza  3  suggests  a  square  dance  song. 

1  Raccoon  got  a  bushy  tail, 
The  possum's  tail  is  bare ; 
The  rabbit  got  no  tail  at  all, 
just  a  little  bunch  of  hair. 

Chorus: 

(jit  along  home,  Cindy, 
Git  along  home,  Cindy, 
Git  along  home,  Cindy, 
Ise  bound  to  join  the  band. 

2  Possum  uj)  the  'simmon  tree. 
Raccoon  (jn  the  ground. 
Possum  shake  the  'simmons  down. 
Raccoon  pass  'em  around. 

3  Swing  and  change  and  don't  get  lost ; 
Tomorrow  may  be  Sunday. 

164 

De  PossiM  Sits  on  'Simmon  Tree 

The  allusions  seem  to  be  to  Charles  Manly,  of  Wake  county,  who 
was  governor  of  North  Carolina  January  i.  1849 — January  i,  1851, 

N.C.F.,  Vol.  III.  (16) 


210  NORTH  CAROLINA  FOLKLORE 

and  to  D.  S.  Reid,  of  Rockingham  county,  wlio  was  governor  Jan- 
uary I,  1851 — December  6,  1854. 

From  a  clipping  from  the  Weekly  Register  or  A^ortli  Carolina  Gazette, 
August  31,   1850,  contributed  by   Miss   Belair. 

1  De  possim  sits  on  'simmon  tree 
And  feeds  himself  quite  fat. 
Put  Manly  on  de  stump  for  me, 
I'm  dog  he'll  soon  leave  dat. 

2  So  down  along-  de  railroad 
De  cars  go  puff  along. 

An'  ebbery  nigger  dat  she  meets 
Dey  shouts  and  sings  dis  song. 

3  I  now  miLst  go  an'  pick  my  toof, 
It  akes  so  very  bad. 

But  since  Reid's  our  Governor  forsooth, 
I  feels  my  pain  so  glad. 


165 
Over  the  Hills  So  Far  Away 

Here  the  refrain  holds  together — more  or  less — two  fragmentary 
jingles  about  animals.  The  line  about  the  old  cow  dying  at  the 
fork  of  the  branch  has  been  reported  from  Virginia  (TNFS  107), 
South  Carolina  (JAFL  xliv  425),  Alabama  (ANFS  230,  243), 
and  even  Patagonia  (FB  163,  with  a  quite  different  refrain). 
Among  the  many  jingles  about  the  rabbit,  the  raccoon,  and  the 
opossum  I  have  not  found  just  what  is  here  said  about  the  possum 
elsewhere. 

'Possum  Ran  from  Under  the  Barn.'  Reported  in  1913  by  William  B. 
Covington  as  among  his  "reminiscences  of  my  early  youth  spent  in  the 
country  on  the  border  of  the  sand  hills  of  Scotland  county."  He  calls 
it  a  "hunting  song." 

Possum  ran  from  under  the  barn. 
Fiddle  l)ow  imder  his  arm. 
The  only  tune  that  he  could  play 
Was  over  the  hills  so  far  away. 
Over  the  hills  so  far  away. 
Over  tile  hills  so  far  away. 

The  old  cow  died  in  the  fork  of  the  branch, 

Over  the  hills  so  far  away ; 

Possum  had  a  regular  dance, 

Over  the  hills  so  far  away. 

Over  the  hills  so  far  away, 

Over  the  hills  so  far  awav. 


J  I  N  C.  L  K  S     A  I!  0  U  T     A  N  I  M  A  L  S  211 

1 66 

Rahhit  in  the  Log 

Reported  as  Negro  song  known  in  Tennessee  (ANFS  283),  Ala- 
bama (ANFS  233,  2St,),  and  Mississippi  (JAFL  xxvi  127). 

■Rahhit  Song.'  Reported  in  1913  by  William  B.  Covington  as  another  of 
bis  "reminiscences  of  my  early  youth  spent  in  the  country  on  the  border 
of  the  sand  bills  of  Scotland  (.dunty." 

Rabbit  in  tbe  log- 
An'  I  ain't  got  no  dog. 
Sbotitin'  an'  singin", 
Gwine  home. 

167 

Old  Molly  Hare  (Mr.  Rabbit) 

Tlie  rhymes  about  'Old  Molly  Hare'  and  'Mr.  Rabbit'  seem  to 
run  together,  at  least  in  North  Carolina  tradition — see  texts  A  and 
G  below.  An  api)arently  early  printing  of  the  song  appears  in  The 
Xcgro  Singer's  Own  Song  Book:  Containing  Every  Negro  Song 
Tlictt  Has  Ever  Been  Snng  or  Printed  (New  York:  Turner  and 
Fisher,  n.d.),  p.  32.     It  begins: 

Oh  hare,  what  you  doing  dar  ? 
Sitting  in  de  corner  smoking  pipe, 
Full  cut  dried  tobacco. 

For  texts  of  the  "old  Molly  Hare"  type  from  outside  the  state,  see 
Perrow  (JAFL  xxvi  132,  from  Mississippi  Negroes),  Talley 
{Negro  Folk  Rhymes  22),  Ford  (Traditional  Music  of  America  37 
and  40,  a  square-dance  song),  Randolph  (OF.S  11  359,  Missouri), 
and  Joel  Chandler  Harris  (Uncle  Remus.  His  Songs  and  Sayings 
[1928  ed.]  24);  Davis  lists  it  from  Virginia  (FSV  250).  For 
"Mr.  Rabbit'  texts  see  Mary  W.  F.  Spears  (JAFL  xxiii  435-6, 
from  the  singing  of  Negroes  in  Virginia  and  Maryland),  Perrow 
again  (JAFL  xxvi  132),  Odum  (JAFL  xxiv  356,  NS  215),  Mrs. 
Ames  (JAFL  xxiv  317,  Missouri  play-party  song),  Dorothy  Scar- 
borough (TNF.S  173-5.  Negroes  in  South  Carolina  and  Mississippi), 
and  Holzknecht   (JAFL  xli  ^jt,,  Negroes  in  Louisville). 

A 

'Ole  Molly  Hare,  What  You  Doiii'  There?'  Reported  in  igi3  by  Wil- 
liam B.  Covington  as  part  of  his  "reminiscences  of  my  early  youth  spent 
in  the  country  on  the  border  of  the  sand  hills  of  Scotland  county." 

1  *01e  Molly  Hare,  what  you  doin'  there?' 

'Riinnin'  through  the  cotton  patch  hard  as  I  can  tear.' 

2  'Bru'r   Rabbit,   Bru'r   Rabbit,   what   makes   your  ears   so 

long?' 
'  'Cause,  by  God,  they're  put  on  wrong.' 


212  NORTH     CAROLINA     FOLKLORE 

3  'Bru'r  l\abl)it,  IJru'r  Rabbit,  what  makes  you  look  so 

shy?' 
"Cause,  my  Lord,  I  don't  want  to  die.' 

4  'Bru'r  Rabbit,  Bru'r  Rabbit,  what  makes  you  look  so  thin?' 
"Cause,  by  God,  I'm  burning  the  wind.' 

5  "Bru'r   Rabbit,    Bru'r   Rabbit,   what    makes   your   tail    so 

white  ?' 
"Cause,  by  God,  I'm  going  out  of  sight.' 

And  the  contributor  notes  :  "Couplets  unlimited." 

B 

'Ole  Molly  Hare.'  From  Miss  Jewell  Robhins,  Pekin,  Montgomery 
county,  in  1921.  With  the  tune.  The  first  couplet  of  A,  with  the  fol- 
lowing refrain — which  seems  to  be  a  memory  of  'Shule  Aroon,'  for 
which  see  Volume  II. 

Shrum  shrew  shack  a  lack,  shack  a  lack  a  shay. 
Shrum  shrew,  shrum  shrew,  shack  a  lack  a  shay. 

c 

'Ole  Molly  Hare.'  From  Miss  Louise  Lucas  of  White  Oak,  Bladen 
county,  in  1922.  With  the  tune.  It  looks  as  though  it  were  intended 
to  be  question  and  answer,  in  which  case  the  "you"  of  the  second  and 
last  lines  should  be  "I." 

Ole  AloUy  Hare,  where  you  going  there  ? 

Going  to  the  cotton  patch  as  hard  as  you  can  tear. 

Been  to  my  house  eating  my  grub. 

Going  to  the  cotton  patch  as  hard  as  you  can  tear. 

D 

No  title.     Reported  by  Dorothy  McDowell  Vann  of  Raleigh.     Not  dated. 

'Ole  Molly  Hare,  what  you  doing  there?" 

'Trotting  through  the  cotton  patch  as  hard  as  I  can  tear. 

Little  piece  of  meat,  big  piece  of  bread. 

I'm  getting  hungry  and  want  to  go  to  bed.' 

E 

'Old  Molly  Hare."  Reported  by  J.  C.  McAdams  (no  date  or  place 
given).  Merely  the  first  couplet  of  A  with  "going"  for  "running"  in 
the  second  line. 


'Ole  Molly  Har'.'  Reported  by  K.  P.  Lewis  as  set  down  from  the  sing- 
ing (or  recitation)  of  Dr.  Kemp  P.  Battle  of  Ciiapel  Hill  in  lyio.  Only 
two  lines  remembered  : 

'Ole  Molly  Har',  watcher  doin'  dar?' 
'Settin'  in  de  corner,  smokin'  a  cigar.' 


T  I  N  r.  T.  F.  S     A  H  ()  r  T     A  X  1  M  A  L  S  213 


•Old   Molly   Hare.'     Kepdrtcd  by    Miss  Clara   Ik-arnc  nf    Pittslioro,  Chat- 
ham county,  in   1923  or  thereabouts. 

1  -Old  Molly  Hare,  what  you  doing  there, 

Running  through   the   cotton   patch   as   hard   as   you   can 
tear  ? 

2  "Old  Mt)lly  Hare,  your  tail's  mighty  white.' 
'Yes.  my  lawdy.  I'm  takin'  it  out  of  sight.' 

H 

•Old  Molly  Hare.'    From McKinnon,  eastern  North  Carolina.     No 

date  recorded.     Merely  the  initial  couplet  of  A. 

I 
'Mr  Rabbit'  From  the  Misses  Holeman,  of  Durham,  in  1921  or  there- 
abouts Richard  T.  Wyche  had  already  contributed  the  same  text  (from 
which  it  will  be  observed,  "old  Molly  Hare"  has  entirely  disappeared) 
as  obtained  from  a  Negro  near  Greensboro.  Gudford  county.  Dr  \\  hite 
notes  on  the  Holeman  manuscript  that  in  1911-13.  and  possibly  later,  a 
baseball  rooting  song  sung  at  Trinity  College  was  based  on  this.     It  ran 

Wake  Forest,  Wake  Forest,  your  face  mighty  long  this  morning. 

Oh,  your  face  mighty  long. 

Yes,  by  God,  it  was  put  on  wrong 

This  morning,  this  evening,  so  soon. 

1  'Mr.  Rabbit.  Mr.  Rabbit,  your  ears  are  mighty  thin.' 
'Yes.  bless  God.  they're  splittin'  the  win'.' 

2  'Mr.  Rabbit.  Mr.  Rabbit,  your  head's  mighty  long.' 
'Yes.  my  Lord,  'twas  put  on  wrong." 

3  'Mr.  Rabbit.  Mr.  Rabbit,  your  feet's  mighty  round." 
'Yes,  my  Lord,  they're  hittin'  the  ground." 

4  'Mr.  Rabbit,  Mr.  Rabbit,  your  tail's  mighty  white.' 
'Yes.  bless  God.  Lm  kyarin'  it  out  o'  sight.' 

168 
The  Rabbit  Skipped,  the  Rabbit  Hopped 

Rhymes  and  jingles  about  the  ral)l)it  are  ahuost  as  many,  especially 
in  the  South,  as  those  about  the  possum  and  the  coon.  This  par- 
ticular bit  has  already  been  reported  from  North  Carolina  (bSSH 
437)  and  something  like  it  from  Texas  (TNFS  108)  ;  Shearin  (  3«  > 
mentions  what  may  be  the  same  thing  as  known  in  Kentucky. 

'The  Rabbit  Skipped.     Nursery  Rhyme.'     Reported  l)y  Mrs.  Doris  Over- 
ton r^)rim  of  Durham  in  1922. 

The  rabbit  skipped,  the  rabbit  hopped, 
The  rabbit  bit  olif  the  turnip  top. 


214  NORTH     CAROLINA     FOLKLORE 

169 

Rabbit  Stole  de  Greens 

From  C.  R.  Bagley  of  Moyuck,  Currituck  county,  Trinity  college  stu- 
dent in  1914,  with  note  that  it  was  from  eastern  North  Carolina  and 
belonged  to  a  class  of  songs  "known  among  the  Negroes  as  breakdowns." 

1  Rabbit  stole  de  greens, 
Rabbit  stole  de  greens, 
Rabbit  stole  de  greens. 

Break  down,  Molly,  boo.  boo, 
Break  down,  Molly,  boo,  boo. 

2  Big  pot  o'  punkins, 
Little  pot  o'  peas ; 
De  ole  bar  smile 
To  see  de  pot  bile. 

Break  down,  Molly,  boo,  boo, 
Break  down,  Molly,  boo,  boo. 

170 

It's  All  Night  Long 

From  Miss  Kate  S.  Russell,  Roxboro,   Person  county,  about   1923. 

Of  all  tbe  animals  in  tbis  world 
rd  ratber  be  a  squirrel. 
I'd  climb  upon  a  telepbone  pole 
And  peep  all  over  tbis  world. 

It's  all  nigbt  long. 
It's  all  night  long. 


171 
Mr.  Squirrel 

Althoug:h  the  squirrel  figures  often  (but  not  as  often  as  the 
rabbit,  the  coon,  and  the  possum )  in  Southern  folk  song,  this  par- 
ticular bit  has  not  been  found  elsewhere. 

'.\Ir.    Squirrel."      Obtained    from   Miss    Valeria   Johnson    Howard,    Rose- 
boro,  Sampson  county. 

One  day  Mr.  Scjuirrel  went  up  a  tree  to  bed. 

A  great  big  bickory  nut  fell  upon  bis  bead. 

'Altbougb  1  am  fond  of  nuts.'  Mr.  Squirrel  tben  did  say, 

'I'd  very  mucb  ratber  tbat  tbey  wouldn't  come  tbis  way.' 


J   I  N  c;  L  K  S     A  I!  ()  V  T     A  N  1  M  A  L  S  215 

172 

The  Weasel  and  the  Rat 

Very  likely  (if  music-hall  origin,  hut  I  have  not  found  it  in  print. 

'Weasel  and  the  Rat.'     Obtained  from  Mr.s.  W.  L.   Pridgen  of  Durham 
in  1023. 

Weasel  and  the  rat. 
Mosqtiito  and  the  cat. 
Chicken  and  the  bunihle-hee  ; 
The  old  baboon, 
The  fuzzy  little  coon ; 
They  all  went  wild  but  me. 

173 
Mole  in  the  Ground 

The  Loniaxes  print  this  (ABFS  152-3)  from  a  Brunswick  record 
made  by  B.  L.  Lunsford.  A  variant  of  the  last  stanza  appears  m 
a  river  roustabout's  song  in  Mary  Wheeler's  Stcamboatin'  Days, 
pp.  86-7.  The  song  is  a  medley  possibly  from  the  minstrel  stage, 
possibly  originating  among  the  roustabouts  themselves. 

'Mole  in  the  Ground.'     Sung  in  1921  by  Fred  Moody,  Jonathan's  Creek, 
Haywood  county.     With  the  tune. 

1  I  wish  I  was  a  mole  in  the  ground ; 
I  wish  I  was  a  mole  in  the  ground ; 

If  I's  a  mole  in  the  ground  I'd  root  that  mountain  down; 
I  wish  I  was  a  mole  in  the  ground. 

2  I  don't  like  a  railroad  man  ; 
I  don't  like  a  railroad  man  ; 

A  railroad  man  will  kill  you  when  he  can 
And  drink  up  your  blood  like  wine. 

3  Oh.  Tempy  wants  a  nine-dollar  shawl ; 
Oh,  Tempy  wants  a  nine-dollar  shawl ; 

When  I  come  o'er  the  hill  with  a  forty-dollar  bill 
Oh,  it's  'Baby,  where  you  been  so  long?' 

4  And  it's  'Where  have  you  been  so  long?' 
And  it's  'Where  have  you  been  so  long?' 

'I've  been  in  the  bend  with  rough  and  rowdy  men.' 
'Tis  'Where  have  you  been  so  long?' 

5  I  wisli  1  was  a  lizard  in  the  sjjring; 
I  wish  I  was  a  lizard  in  the  spring ; 

If  I's  a  lizard  in  the  spring  I'd  hear  my  darlin'  sing; 
I  wish  I  was  a  lizard  in  the  spring. 


2 16  NORTH     CAROLINA     F  O  L  K  L  O  R  K 

6     Oh.  Tenipy,  let  your  hair  roll  down; 
Oh,  Tenipy,  let  your  hair  roll  down ; 
Let  your  hair  roll  down  and  your  bangs  curl  around ; 
Oh,  Tempy,  let  your  hair  roll  down. 


1/4 

The  Old  Grey  Horse  Came  Tearing  Through 

THE  Wilderness 

Sandburg  (ASb  102)  calls  this  a  Negro  spiritual.  The  contributor 
of  A  calls  it  a  lullaby  song.  For  its  occurrence  elsewhere  see  Bot- 
kin's  The  American  Play-Party  Song  268  and  add  to  the  references 
there  given  Virginia  (FSV  260-1,  listed  as  a  Civil  War  song),  the 
Ozarks  (OPS  11  349-50),  and  Iowa  (JAFL  lvi  102).  It  is  quite 
distinct  from  the  immediately  following  item  of  'The  Old  Grey 
Mare.' 

A 

'Roll,  Riley,  Roll.'  Contributed  by  Miss  Mamie  E.  Cheek  of  Durbani 
in  1923. 

The  old  grey  horse  came  trotting  down  the  wilderness. 
Trotting  down  the  wilderness,  trotting  down  the  wilder- 
ness. 
The  old  grey  horse  came  trotting  down  the  wilderness. 
Down  in  Alabam. 

Chorus: 

Roll,  Riley,  roll, 
Roll.  Riley,  roll. 
Roll.  Riley,  roll. 
Oh,  Lord,  I'm  bound  to  go.^ 

B 

No  title.  Reported  by  Sarab  K.  Watkins  from  Anson  and  Stanly 
covinties. 

Old  grey  horse  come  trottin'  out'n  the  wil'erness.  trottin' 

out'n  the  wil'erness, 
Old  grey  horse  come  trottin'  out'n  the  wil'erness.  down  in 

Alabam. 

c 

'Oh,  tbe  Old  Grey  Mare  She  Ain't  What  She  Used  to  Be.'  Communi- 
cated in  December  1919,  by  K.  W.  Litaker  of  Durham  as  beard  in  tlie 
cotton  fields  of  Cabarrus  county  "within  tbe  last  two  years."  With  t'le 
tune  as  sung  by  Eula  Mangum.  This  stanza  is  found  along  witli  tbe 
"wilderness"  stanza  in  Botkin's  te.xts  and  elsewhere. 

'  The  word  "Riley"  is  not  capitalized  in  the  manuscript,  but  one  sup- 
poses that  it  is  a  man's  name. 


J    I  N  C.  I.  K  S      A  R  ()  r  T      A  N   I   M  A  L  S  217 

Oh,  the  old  i^rcy  mare  she  ain't  what  she  used  to  be. 

She  ain't  what  she  used  to  be.  she  ain't  what  she  used  to 

be. 
( )h.  the  old  grey  marc  she  ain't  what  she  used  to  be 
Ten  or  twenty  years  ago. 

175 
The  Old  Grey  Mare 

Rhythm   as   well   as   content   distinf::uish   this    from   the   preceding 
sons^. 

'Tlic  Old  (irey  Mare.'  Contrilnitcd  by  Mildred  Peterson  from  Bladen 
county.     The  first  line  of  each  stanza  is  sung  three  times. 

1  Once  I  had  an  old  grey  mare. 
Once  I  had  an  old  grey  mare. 
Once  I  had  an  old  grey  mare, 
Saddled  her  and  rode  her  there. 

2  When  I  got  there  she  got  tired. 
She  laid  down  in  an  old  courtyard. 

3  Then  they  begin  to  sing  and  pray ; 
She  jumped  up  and  ran  away. 

4  Then  I  went  down  the  road  on  her  track ; 
Found  her  in  a  mud  hole  flat  on  her  back. 

176 

I  Had  a  Little  Horse  Whose  Name  Was  Jack 

This   jingle,   descended   probably    from   the   old   English   nursery 
rhyme   (Halliwell  139)  beginning 

I  had  a  little  pony. 

His  name  was   Dapple-gray, 

has  been  several  times  reported  as  folk  song — the  animal  is  more 
often  a  mule  than  a  horse  and  sometimes  is  a  dog,  and  once  the 
name  is  Dap,  not  Jack.  See  TNFS  184.  185.  JAFL  xxvi  125, 
x.xxii  376,  XXXIV  2,7-  XLi  574.  'dl   from  the  Southern  states. 

No  title.  F'rom  Flossie  Marshbanks,  Mars  Hill.  Madison  county.  No 
date  given. 

I  had  a  little  horse  whose  name  was  Jack, 

Put  him  in  the  stable  and  he  jumped  through  the  crack. 


2l8  north    carolina    folklore 

My  Old  Sow's  Nose 

See  the  headnote  to  Randolph's  Missouri  text,  OFS  iii  149-50; 
known  also  in  Virginia  (FSV  147)  and  Kentucky  (BKH  185). 
One  suspects  that  it  is  an  old  English  country  song,  hut  I  have 
failed  to  find  it  so  recorded. 

'What  Shall  I  Do  with  My  Old  Sow's  Nose?'  From  the  manuscript 
songbook  of  Mrs.  Harold  Glasscock  of  Raleigh,  lent  to  Dr.  White  in 
1943.  Most  of  the  songs  in  the  book  Mrs.  Glasscock  learned  from  her 
parents. 

1  'What  shall  I  do  with  my  old  sow's  nose?' 

'  'Twill  make  as  good  plow.  sir.  as  ever  plowed  rows. 

Plow,  sir,  shovel,  sir,  any  stich  thing.' 

Sow  took  the  measles  and  she  died  in  the  spring. 

2  "What  shall  I  do  with  my  old  sow's  head?' 

'  'Twill  make  as  good  cheese 


3  'What  shall  1  do  with  my  old  sow's  sides?' 

'  'Twill  make  as  good  bacon,  sir,  as  ever  was  fried. 

Bacon,  sir,  lard,  sir,  any  such  a  thing.' 

Sow  took  the  measles  and  she  died  in  the  spring. 

4  'W^hat  will  I  do  with  my  old  sow's  hide?' 

"Twill  make  as  good  saddle,  sir,  as  ever  yot:  did  ride. 
Saddle,  sir,  blanket,  sir,  and  any  such  a  thing.' 
Sow  took  the  measles  and  she  died  in  the  spring. 

5  'What  shall  I  do  with  my  old  sow's  feet?' 

"Twill  make  as  good  souse,  sir,  as  ever  you  did  eat. 

Souse,  sir,  soap,  sir,  any  such  a  thing.' 

Sow  took  the  measles  and  she  died  in  the  spring. 

6  'What  shall  1  do  with  my  old  sow's  tail?' 

"Twill  make  as  good  whip,  sir,  as  ever  you  did  flail. 

Whip,  sir,  stick,  sir,  any  such  a  thing.' 

Sow  took  the  measles  and  she  died  in  the  spring. 

178 

The  Old  Sow 

This  nonsensical  and  fragmentary  hit  T  have  not  found  elsewhere. 

'The  Old  Sow.'  Contrilnited,  apparently  in  1922,  by  H.  C.  Martin  of 
Blowing  Rock,  Watauga  county.  With  the  tune.  The  first  eight 
syllables  of  the  second  line,  and  perhaps  the  last  six  of  line  4.  represent 
a  "whistled"  refrain.     "Several  lines  missing,"  says  tlio  manuscript. 


J    I  N  C.  I.  !•:  S      A  1!  ()  U  T     A  \  I   M  A  I,  S  2I9 

And  till'  old  sow  went  to  the  barn  to  pig, 
Hi  hee  hi  hee  hi  hee  hi  hee  barn  to  pig. 
And  the  old  sow  went  to  the  barn  to  pig, 
But  never  cry  di  cr\-  do  cry  da 
For  old  Susainia  is  a  pretty  woman.  .  .  . 

179 

TllK   KlTTKX    Is   UNDKK  THK    Sol) 

'i'his  hit  of  Jini;lc  has  not  been  found  elsewhere.  Is  it  a  nursery 
rhviue?  Or  iust  a  college  nonsense  chant,  like  'Turn  the  I)anii)er 
Up'? 

"The  Kitten  is  under  tlie  Sod.'  Reported  by  K.  P.  Lewis  of  Durham  a.s 
sung  by  Dr.  Kemp  P.  Battle  of  Chapel  Hill.  The  direction  is  "repeat 
in  varied  manner  until  singers  are  weary." 

The  kitten  is  under  the  sod,  the  sod. 
The  kitten  is  under  the  sod. 

180 
The  Animal  Fair 

Spaeth  (Krad  'lim  and  Weep  ~g)  gives  this  as  a  popular  song 
of  "reconstruction  days"  but  says  nothing  of  its  authorship.  It  is 
reported  as  folk  song  from  Virginia  (FSV  204).  Tennessee 
(BTFLS  V  45-6),  Georgia  (SSSA  241),  and  Missouri  (OFS  iii 
207)  ;  also  by  Sandburg  (ASb  348-9),  by  Miss  Pound  in  her  sylla- 
bus, and  by  Talley  for  the  Negroes  {Negro  Folk  Rhymes  159-60). 
Doubtless  it  is  much  more  widely  known  than  this  list  would  indi- 
cate.    It  appears  only  once  in  our  collection. 

'The    Animal    Fair.'      Reported    by    Miss   Foy   in    1920;    but   the 

manuscript  does  not  mention  the  region. 

1  I  went  to  the  animal  fair ; 

The  birds  and  the  beasts  were  there. 
The  big  raccoon  by  the  light  of  the  moon 
Was  combing  his  auburn  hair. 

2  The  monkey  he  got  drunk 
And  fell  on  the  elephant's  trunk. 

The  ele])hant  sneezed  and  fell  on  liis  knees 

And  thai  was  the  end  of  the  monk,  the  monk,  the  monk. 

181 

The  Monkey  Marrhcu  the  Baboon's  Sister 

Spaeth,  Read  'Em  and  Weep  18-19,  -"^'^ys  this  comic  song  was  sung 
by  Charles  Taussig  in  "reconstruction  days."  Auner  of  Phila- 
delphia printed  it  as  a  penny  song.     It  is  known  probably  all  over 


220  N'  0  R  T  H     CAROLINA     F  O  L  K  1.  U  R  F. 

the  country:  reported  as  traditional  song  from  Maine  ( FSONE 
241-3),  from  Virginia  (FSV  204),  from  the  Southern  mountains 
(AMS  86-7),  from  Texas  (TNFS  i8o.  Negroes),  from  Michigan 
(BSSM  471),  and  without  location  by  Sandburg  (  ASb  143). 

A 
'Monkey    Married   the    Baboon's   Sister.'      Reported   by    K.    P.    Lewis   as 
set   down  from   the   singing   of   Dr.    Kemp   P.    P.attle   of   Chapel    Hill    in 
1910. 

1  The  monkey  married  the  baboon's  sister. 
Smacked  his  mouth  and  then  he  kissed  her, 
Kissed  her  so  hard  he  raised  a  blister, 
.And  she  set  up  a  yell. 

2  What  do  vou  think  the  bride  was  dressed  in? 
A  blue  gauze  veil  and  a  green  glass  breastpin, 
White  kid  gloves  ;  she  was  interestin' ; 

Oh,  she  cut  a  swell. 

B 

'The  Monkey  Married  the  Baboon's  Sister.'  From  Miss  Amy  Hender- 
.son  of  Worry,  Burke  county,  in  1914.  The  same  as  .\  e.xcept  in  the 
second   stanza,   which  runs  : 

What  do  you  suppose  the  bride  was  dressed  in  ? 
White  gauze  veil  and  a  green  glass  breastpin. 
Red  kid  gloves  ;  looked  quite  interesting ; 
She  was  quite  a  belle. 

c 

'Monkey  Married  a  Baboon's  Sister.'  Obtained  by  Julian  P.  Boyd  in 
1927  from  Minnie  Lee,  pupil  in  the  school  at  Alliance,  Pamlico  county. 
The  first  four  lines  oidv,  the  fourth  of  wliicli  varies  from  those  of  A 
and  B: 

Ha  !  ha  !  ha  !  And  goodbye,  John  ! 

182 

The  Catfish 

The  A  text,  the  only  one  that  has  more  than  one  stanza,  is  to 
be  found  in  Mountain  Songs  of  North  Carol ina  (New  York:  G. 
Schirmer,  n.d. )  by  .Susannah  Wetmore  and  Marshall  Bartholomew, 
pp.  25-7.  The  cattish  stanza  is  known  in  Kentucky  (JAFL  xli.x 
235,  as  a  stanza  of  'Turkey  in  the  Straw'),  South  Carolina  (JAFL 
XLiv  436),  and  Texas  (TNF.S  199),  and  has  become  a  "jackfish" 
in  Virginia  (SharpK  11  316,  where  it  is  called  a  jig  and  has  a 
chorus )  ;  the  snake  and  the  hornet's  nest  found  their  wav  to  the 
minstrel  stage  more  than  a  hundred  years  ago  (Damon's  Scries  of 
Old  American  Songs  No.  28 )  and  have  been  reported  more  recently 
from  South  Carolina  (JAFL  xi.iv  425  i  and  .Alabama   (ANFS  203, 


J   I  N  G  h  K  S     A  H  O  r  T     A  N  1  M  A  L  S  221 

J46,  TNFS  197),  and  Talley  {Xcgro  l-'olk  Rhymes  103)  reports  the 
Iiornet's  nest;  the  terrapin  and  tlie  toad  are  hnked  together  in  un- 
numbered Negro  songs. 

A 

'Banjo  Sam."  Obtained  from  Obadiab  Johnson  of  Crossnorc,  Avery 
county,  probably  in  1940. 

1  Cattish,  cattish,  goin'  up  stream, 
Cattish,  cattish,  wliere  you  been? 

1  grabbed  that  cattish  by  the  snout, 
I  pulled  that  cattish  wrong  side  out. 
Yo-ho  !  Banjo  Sam. 

2  As  I  was  goin'  thro'  the  field 

A  blacksnake  bit  me  on  the  heel. 
I  grabbed  me  a  stick  and  I  done  my  best, 
And  I  ran  my  head  in  a  hornet's  nest. 
Yo-ho !  Banjo  Sam. 

3  And^  I  was  goin'  down  the  road, 
I  met  a  terrapin  and  a  toad. 
The  terrapin  he  began  to  sing. 
The  toad  he  cut  the  pigeon  wing. 
Yo-ho !  Banjo  Sam. 

B-D 
All  of  these  consists  only  of  tbe  catfish  stanza.     B.  contributed  by  Wil- 
liam  B.   Covington  as   part  of  his   "reminiscences  of  my   early  youtb   in 
the  country  on  the  border  of  tbe   sand   hills  of   Scotland   county,"   runs 

I  saw  that  cattish  going  up  stream, 
I  asked  that  cattish  what  did  he  mean ; 
I  caught  that  catfish  by  the  snout, 
I  jerked  that  catfish  wrong  side  out. 

C,  reported  by  McKinnon  from   eastern   North   Carolina,   differs 

from  the  first  stanza  of  A  but  slightly  : 

Catfish,  cattish,  swimming  up  stream. 
Ask  that  cattish  what  he  means  ; 
Ketch  that  catfish  by  his  snout. 
Turn  that  cattish  round  side  out. 

D.  from  W.  B.  Leake  of  Rich  S(iuarc.  Northampton  county,  and  called 
"Negro  fragment,"  differs  altogether  in  its  outcome : 

Catfish  swimming  down  the  river, 
Nigger  threw  out  his  line. 
Catfish  said  to  the  nigger, 
'Aha,  you  didn't  ketch  me  that  time.' 

^  Miswritten,  one  supposes,   for  "As." 


222  north    carolina    folklore 

Lulu 

A  medlev.  as  are  so  many  of  the  traditional  songs  of  the  Southern 
mountains.  Since  our  text  was  published  in  1909  Henry  has  re- 
ported a  briefer  version  from  Avery  county  (JAFL  xlv  167-8, 
FSSH  436-7).  Perrow  (JAFL  xxvi  127)  prints  a  song  from  Ken- 
tucky containing  our  first  stanza  with  "Dad's  old  lip"  for  "my  old 
ad"  and  suggests  that  our  "ad"  should  be  "dad" — the  granddaddy  of 
all  fish. 

"Lulu.'  Rejxjrted  in  JAFL  xxii  (1909)  248  by  Louise  Rand  Bascom 
from  the  mountain  country  of  North  Carolina,  without  more  definite 
location.  Miss  Bascom  notes  that  the  last  two  lines  are  "like  the  popular 
song  which  used  to  be  sung  everywhere, 

Johnnie  get  your  hair  cut, 
Johnnie  get  your  hair  cut, 
Johnnie  get  your  hair  cut 
Just  like  mine." 

1  I  went  a-fishin'  an'  fished  for  shad ; 
First  I  catight  was  my  old  ad. 
Jerked  him  tip  an'  he  fell  back, 
Next  one  bit  was  a  great  big  cat. 

2  r  11  give  yoti  a  nickel 
An'  I'll  give  you  a  dime 
To  see  little  Lulu 

Cut  her  shine. 

3  My  old  missus  promised  me 

That  when  she  died  she'd  set  me  free. 
An'  now  she's  dead  an'  gone  to  hell ; 
Hope  the  devil  will  chtmk  her  well. 

4  Shout,  little  Lulu, 
Shout  your  best,' 

Fur  your  ole  grandniaw's 
Gone  to  rest. 

5  The  hull  frog's  up 

In  the  bottom  of  the  well ; 
He  swore  by  God 
He'd  gone  to  hell. 

6  He  jumped  in  the  fire 
An'  scorched  his  hand ; 
If  he  ain't  in  a  hot  place 
I'll  be  damned, 


J   I  X  C.  I,  F.  S      A  H  O  r  T     ANIMALS  223 

7     Love  you  fur  a  nickel, 
Love  you  fur  a  dime  ; 
Lulu,  get  your  hair  cut 
just  like  mine. 

184 
Jonah  I'^ishing  for  a  Whale 

This  appears  to  be  a  secularizing  of  a  Bible  theme.  It  has  not 
been  found  elsewhere.   For  Negro  songs  about  Jonah,  see  pp.  405-8. 

"Jonah  Fishing  for  a  Whale.'  Reported  by  Judge  R.  W.  Winston  of 
Chapel   Hill. 

1  Cheer  up,  cheer  up,  my  lively  lads, 
Uon't  let  your  spirits  fail ; 

h^or  Jonah's  down  in  Sampson  pond 
A-hshin'  for  a  whale. 

2  And  when  he  ain't  a-whaling 
He's  at  some  other  fun — 

Down  in  the  swamp  a-cutting  reeds 
To  string  his  whales  upon. 

185 

Sn.\ke  Baked  .\  Hoecake 

White  ANFS  158-9  and  246-7  presents  evidence  that  this  song 
has  been  known  in  America  since  about  1810-12  and  quotes  from 
a  letter  remarking  upon  its  occurrence  in  Washington  Irving's  note- 
book for  1817.  Sharp  found  it  as  a  nursery  song  in  Virginia  in 
1918  (  SharpK  11  346),  and  Davis  so  reports  it  ( FSV  206).  Not 
improbably  'I  Went  Down  to  the  Low  Ground,'  No.  187  of  the 
present  collection,  is  derived  from  it.  It  appears  also  as  the  tinal 
stanza  of  one  of  the  lullabies,  116  B. 

A 

'Snake  Baked  A  Hoecake.'  Reported  by  K.  P.  Lewis,  Durham,  as  set 
down  from  the  singing  or  recitation  of  Dr.  Kemp  P.  Battle  of  Chapel 
Hill   in  September   lyio. 

Snake  haked  a  hoecake,  set  the  frog  to  mind  it. 
Frog  he  went  a-nodding,  lizard  came  and  stole  it. 
'Bring  hack  my  hoecake,  you  long-tailed  ninny !' 

B 

'The  Snake  Baked  a  Hoecake.'  From  .Miss  Mamie  Mansfield,  I-^owler 
School  District,  Durliam,  in   1922. 

The  snake  haked  a  hoecake, 
Left  the  lizard  to  mind  it. 


224  NORTH      CAROLINA     F  0  L  K  L  0  R  F. 

The  lizard  came  and  stole  it. 
"You  bring  back  my  hoecake, 
You  long-tailed  Nannie!' 


'Snake  Baked  a  Hoecake.'     From  Aliss  Amy  Henderson,  Worry.  Burke 
county,  about  191 5- 

Snake  baked  a  hoecake  and  set  a  frog  to  mind  it. 
Frog  went  to  sleep  and  lizard  come  and  find  it. 

186 
Row  THE  Boat  Ashore 

Originally  a  capstan  chanty  and  so  reported  from  Lancashire 
(JFSS  II  248,  where  the  refrain  is  "Roll  the  boat  ashore")  and 
from  Newcastle  (JFSS  v  43,  where  the  refrain  is  "And  you  rowed 
about  the  shore").  Divers  American  texts  lack  the  refrain  wliich 
gives  the  title  to  our  North  Carolina  text  but  yet  are  held  together 
by  the  mention  of  "the  hog-eye"  or  "the  hog-eyed  man."^  So 
texts  from  Kentucky  (SharpK  11  360),  Alabama  (ANFS  246, 
Negroes),  and  Wisconsin  (JAFL  lii  49-50).  Sandburg  reports 
it  from  South  Carolina  Negroes  (ASb  380)  and  from  an  old  sailor 
apparently  at  San  Francisco  (ASb  410-11),  both  times  with  a  re- 
frain which  evidently  represents  our  "Row  the  Boat  Ashore."  Our 
North  Carolina  text  has  lost  all  consciousness  of  the  sea. 

■Rodybodysho."     Reported  by  Evelyn   Moody  from   Stanly  county. 

1  .As  I  went  through  my  harvest  field 
A  black  snake  caught  me  by  the  heel. 
I  wheeled  around  to  run  my  best 
And  I  ran  my  head  in  a  hornets'  nest. 

Chorus: 

Rodybodysho  and  a  hog  eye. 
Rodybodysho  and  a  hog  eye. 
All  I  eat  is  hog  eye  meat. 

2  As  I  went  down  the  Cheraw  hill 
There  I  met  my  brother  Hill 
Sitting  on  a  potato  hill 

Cracking  the  hones  of  a  whippoorwill. 

'Written  'hawk's-eye  man'  in  JFSS  n  248,  where  it  is  noted  that  a 
te.xt  in  Tozer's  Sailor  So>ujs  writes  it  "ox-eyed  man."  The  meaning  of 
the  phrase  is  not  clear.  Sharp.  JFSS  v  43,  quotes  Whall's  Ships.  Sea 
Sotujs,  and  Shanties:  "the  barges  in  which  gold-diggers  were  conveyed 
to  California  in  1849  were  known  as  'hog-eyes.'  "  Odum,  JAFL  xxiv 
270,  says  that  among  the  Negroes  "on  a  hog"  means  "broke."  But  in 
the  songs  listed  above  it  seems  to  have  an  erotic  implication. 


J    1  N  (I  I.  K  S      A  H  ()  r  T      A  N   1   M  A  I.  S  225 

3      I  went  down  to  ni\-  pea  patch 
To  see  if  luy  ole  hen  had  hatched. 
The  eggs  was  pipped,  the  chickens  all  gone, 
Down  in  the  low-grounds  scratching  up  corn. 

187 
1  Wknt  Down  to  tuk  Low  Ground 

The  first  line  of  this  occurs  in  a  stanza  (|U()tetl  by  Cox  (SFLQ  vi 
249)  from  a  version  of  'Shoot  the  BulYalo'  given  in  MWS.  Other- 
wise 1  have  not  found  it  recorded  by  collectors.  But  see  'Snake 
Baked  a  Hoecake,'  above. 

No  title.     Contril)utecl,  in   1923  or  therealxuits,  liy   R.   S.   Russell  of   Rox- 
boro,   Person  county. 

1  went  down  to  the  low  ground 
To  see  about  my  farm  ; 
I  ran  upon  a  black  snake 
With  an  ash  cake  under  his  arm. 
How  come  that  snake  don't  die? 
How  come  that  snake  don't  die? 

188 

As  I  Went  Up  the  Silver  L.\ke 

This  1  have  not  found  reported  elsewliere. 

'.As  I  Went  up  the  Silver  Lake.     Nursery   Rbyme.'     Reported,  i)rol)ably 
in  1922,  I)y  Airs.  Doris  Overton  Brim  of  Durbam. 

As  I  went  up  the  silver  lake 
There  I  met  a  rattlesnake. 
He  did  eat  so  much  cake 
That  he  had  the  tunniiy  ache. 

189 
Way  Down  Yonder  in  Pasquotank; 

For  divers  rhymes  about  die  bullfrog,  see  White's  note,  ANFS 
244.  Our  particular  rhyme  he  says  be  has  known  from  boyhood. 
Forms  of  it  showing  the  rhyme  with  "bank"  (though  not  the  proper 
noun  Pascjuotank )  have  been  reported  from  Virginia  (FSV  151  ), 
Tennessee  (JAFL  .xxvi  135),  Soudi  Carolina  (JAFL  xliv  425. 
Negroes),  Alabama  (ANFS  244),  and  Mississippi  (JAFL  xxvi 
135)- 

'Pasquotank.'      Contributed,    probably   in    191 3,    by   the    Reverend    L.    D. 
Haynian  of  Elizabeth  City,   Pasquotank  county.     Witli  the  tune. 

X.C.E..  V(.].  Ill,  (17) 


226  N  t)  R  T  H     C  A  R  O  L  I  N  A     FOLKLORE 

Way  down  ycmder  in   Pasquotank. 
Where  the  bullfrogs  jump  from  bank  to  bank, 
They  jump  so  high  they  break  their  shank. 
The  old  grey  goose  went  "yankety  yank.' 


190 
Ninety-Nine  Blue  Bottles 

This  sounds  like  a  college  song,  though  it  may  of  course  be  a 
music-hall  product.  It  is  listed  in  Miss  Pound's  Midwestern  sylla- 
bus, with  "forty-nine"  instead  of  "ninety-nine."  Randolph  (OPS 
III  210)  reports"  it  from  Missouri.  Presumably  the  blue  bottles  are 
bluebottle  flies,  though  the  term  is  not  hyphenated  in  the  manuscript. 

'Ninety-Nine    Blue   Bottles.'      Reported   by   K.   P.   Lewis   as   obtained    in 
1910  from  Dr.  Kemp  P.  Battle  of  Chapel  Hill. 

T      Ninety-nine  blue  bottles  were  hanging  on  the  wall ; 
Take  one  blue  bottle  away  from  them  all 
And  ninety-eight  blue  bottles  will  be  hanging  on  the  wall. 

2     Ninety-eight  blue  bottles  were  hanging  on  the  wall ; 
Take  one  blue  bottle  away  from  them  all 
And  ninety-seven  blue  bottles  will  he  hanging  on  the  wall. 

"Etc.,  etc.,  until  tj-.c  last  blue  bottle  is  removed  or  until  the  singer  faints 
from  exhaustion." 


191 

A  Picnic 

This  the  editor  heard  recited  by  an  old  carpenter  and  boatman  in 
Michigan  some  thirty  years  ago,  l)ut  he  has  not  succeeded  in  finding 
it  in  print.     Presumably  it  is  a  product  of  the  vaudeville  stage. 

'A  Picnic'     Contributed  in  1923  by  Clara  Hearne  of  Pittsboro,  Chatham 
county. 

What's  any  better  than  a  picnic  ? 

The  victuals  all  on  the  ground. 

Flies  in  the  buttermilk,  bugs  in  the  butter, 

/\nd  the  skeeters  hunmiing  around. 

Chorus: 

Gain'  down,  children, 
Goin'  down,  1  .say ; 
Goin'  down,  children. 
To  have  a  holiday. 


J  1  N  t;  L  E  S     A  H  0  U  T     ANIMALS  227 

192 

Two  Ijttlk  r^LEAS 

This  l)it  of  folk  Iiunior.  a  ])art  of  the  miscellaneous  folk  song 
dealing  with  birds,  beasts,  tishes.  and  insects  in  which  this  ])art  of 
the  country  abounds,  I  have  not  found  elsewhere. 

'Two  Fleas.'     Communicated  by   Mrs.  W.   L.   Pridgen  of  Durham,  prol)- 
ably  in  1923. 

Two  little  fleas  sat  on  u  rock. 

One  to  the  other  said : 

'I've  had  no  place  to  hang  my  hat 

Since  niy  poor  dog's  been  dead. 

I've  searched  this  whole  world  over ; 

No  longer  shall  I  roam. 

The  first  dog  that  shall  show  himself 

Shall  be  my  Home,  Sweet  Home.' 


193 

Went  to  the  River  .\xd  I  Couldn't  Get  Across 

This  jingle  is  ubicjuitous  in  the  .South — see  White's  note,  ANFS 
194-5:  Randolph  (OFS  11  330-1  )  reports  it  also  from  Missouri — 
but  the  traveler  usually  has  recourse  to  an  old  grey,  or  blind,  horse 
(in  New  Orleans  [TNFS  185]  to  an  alligator,  in  Kentucky  [JAFL 
XXVI  197]  to  a  possum).  The  Negro  as  a  means  of  transportation 
appears,  however,  in  versions  from  South  Carolina  (TNFS  184) 
and  (apparently)  from  Texas  (TNFS  184).  See  also  No.  462, 
below. 

"Went  to  tlie  River  and  I  Couldn't  Get  Across.'     From  Dr.  E.  V.  Howell 
of  Chapel  Hill.     Not  dated.     One  couplet  only. 

Went  to  the  river  and  I  couldn't  get  across. 

Jumped  on  a  nigger's  hack  and  thought  he  was  a  horse. 


VII 
\V  ()  R  K    SONGS 


RH\'THA11CAL  chants  of  labor — spinning  songs,  sailors'  chant- 
ies, the  songs  of  workers  in  construction  gangs  of  various  sorts 
— are  an  important  part  of  folk  song,  even  in  America,  as  appears  in 
tlie  collections  of  Negro  songs  of  this  character  made  by  Odum 
(jAF"L  XXIV  378-93)  and  by  Odum  and  Johnson  (Negro  ITorkaday 
Soiu/s,  1926).  With  one  exception  there  is  little  of  this  sort  of  song 
in  our  collection.  That  exception  is  the  cornhusking  songs.  There 
are  a  dozen  of  them,  some  with  numerous  variants.  They  are, 
however,  not  work  songs  in  the  sense  of  marking  and  regulating 
the  muscular  rhythm  of  the  work  involved  but  are  simply  enter- 
tainment to  lighten  it — tliough  sometimes  a  "leader"  walks  up  and 
down  before  the  pile  of  unliusked  corn  singing  the  stanzas  and 
directing  the  buskers  to  come  in  on  the  chorus.  One  of  the  songs 
with  the  greatest  variety  of  versions.  'Old  Bob  Ridley.'  has  even 
got  over  to  England;  Williams  (FSUT  224-5)  says  that,  though 
of  American  origin,  it  is  very  popular  throughout  the  Thames  val- 
ley. Several  of  these  husking  songs — 'The  Old  Turkey  Hen,'  'Run, 
Sally.  My  Gal,'  'Up  Roanoke  and  Down  the  River.'  'Hidi  Quili 
Lodi  Quili' — make  no  mention  of  corn  or  of  husking.  One.  'Here, 
Jola,  Here,'  is  evidently  a  hunting  song.  Two  or  three  bits  are 
reported  as  hog-calling  chants. 

There  are  several  songs  that  are  not  strictly  speaking  work  songs 
but  that  have  to  do  with  farm  life  and  work,  especially  the  raising 
of  cotton.  'Down  on  the  Farm'  is  sentimental,  the  parody  of  it  is 
sarcastic;  'Picking  out  Cotton.'  'The  Cotton  Picker,'  and  'The 
Humble  Farmer'  are  bitter;  but  'The  Boll  W'eevil.'  though  its  sub- 
ject is  the  worst  enemy  of  the  cotton  farmer,  bubbles  with  irresistible 
Negro  humor.  The  weevil  is  "lookin'  for  a  home"  and  despite  all 
the  farmer's  efforts  he  always  finds  one.  'The  Young  Man  Who 
Wouldn't  Hoe  His  Corn'  is  not  peculiar  to  North  Carolina  but  is 
known  all  over  the  country. 

Hunting  is  rather  a  sport  than  a  labor,  even  on  the  frontier,  but 
it  is  traditionally  accompanied  by  or  celebrated  in  song.  In  'The 
Duke  of  Buckingham'  North  Carolina  has  preserved  an  English 
hunting  song  of  the  seventeenth  century.  'The  W'ild  Ashe  Deer' 
professedly  records  the  chase  of  a  fleer   from  Ashe  into  Watauga 


W    O  K    K      SO  N  (i  S  22g 

count\,  hut   I   liavr  not  Icanit'd  wlicu.     "Old   Blue'  records  toucliiuKly 
a  hunter's  love  of  his  doi;  : 

When    1    get   to   heaven   T   know    what   I'll   do; 
I'll  gral)  my  iiorn  and   I'll  hlow   for  Blue. 

lUit  among  hunting  songs  none  can  vie  in  the  southern  Ai)i)alaehians 
with  "Tlie  (Iround  Hog.' 

Whet   up  your  knife  anti    whi>tle  uj)  your  dog, 
We're  going  to  the  hill^  to  hunt  a  ground  iiog. 

The  whole  family  takes  ]iart  in  the  expedition  and  in  the  sul)se(|uent 
feasting : 

Up  stepped  Susie   with  a  snigger  and  a  grin, 
(irouiul  hog  grease  all  over   her  chin. 

The  rude  hut  happy  life  of  the  frontier  is  adniirahly  pictured. 

There  are  a  few  songs  of  river  hoatnien,  and  one,  'Haul.  Haul, 
Haul.  Boys,'  that  is  called  by  the  contributor  a  tishing  song,  which 
may  mean  that  it  was  sung  by  fishermen  as  they  hauled  their  nets. 
Of  clianteys  of  deep-sea  sailors  there  are  surprisingly  few\  con- 
sidering how  important  sea  life  has  been  to  the  people  on  the 
islands  and  the  banks.  'Old  Horse'  voices  the  seaman's  resentment 
at  his  diet  of  salt  horse;  in  'For  Six  Days  Do  All  That  Thou  Art 
Able'  he  grouses  about  having  to  work  on  Sundays ;  the  'Alphabet 
of  the  Ship'  is  the  sailor's  counterpart  to  the  woodsman's  alphabet 
often  reported  from  the  lumbering  regions;  but  none  of  these  is 
properly  speaking  a  chantey.  'Whip  Jamboree,'  on  the  other  hand, 
and  possibly  'Sal's  in  the  Garden  Sifting  Sand'  are  chanteys,  and 
'[  Have  a  F"ather  in  My  Native  Land'  is  reported  as  such,  though 
it  hardly  sounds  like  one. 

Finally  we  have  'Working  on  the  Railroad.'  'Reuben's  Train.' 
'The  Little  Red  Caboose  behind  the  Train,'  and  a  few  fragments 
that  have  to  do  with  railroads  or  railroad  workers.  There  are  in 
the  collection  several  songs  about  holioes.  whose  life  is  more  or 
less  tied  up  with  railroads.  Some  of  these  will  be  found  among 
the  American  ballads.  Surely  it  would  never  do  to  ])nt  hobo  songs 
among  work  songs  ! 


194 
Old  ]*)()b  RiDi.EV 

Presumably  a  song  from  the  minstrel  stage  that  has  jjassed  into 
the  repertory  of  folk  singers,  though  perhaps  it  represents  the 
reverse  of  that  process.  Professor  Hudson  tells  me  that  'Young 
Bob  Ridlev'  was  printed  in  Hob  Hart's  Plantation  Songster  (  New 
York:  Fitzgerald,  about  1863)  and  in  The  Slii'linc/  Song  Book 
Xo.  3  (New  York:  Oliver  Ditson.  about   1864).     Williams  (  FSUT 


230  XORTH     CAROLINA     FOLKLORE 

224-5)  says  that  though  of  American  origin  it  is  "very  popular 
throughout  the  Thames  valley."  It  is  popular  also  in  North  Caro- 
lina, as  our  numerous  texts  show.  Only  one  of  them,  C,  is  de- 
scribed by  the  contributor  as  a  cornhusking  song,  but  it  may  safely 
be  assumed  that  all  are  so  used.  They  combine  some  form  of  the 
name  Ridley  with  the  story  of  the  catching  and  cooking  of  a  super- 
latively fine  possum.  Davis  (FSV  320)  reports  it  from  Virginia. 
Perrow  (JAFL  xxvi  131)  reports  from  the  singing  of  North  Caro- 
lina Negroes  a  cornshucking  song  about  the  possum  and  Miss  Polly 
Bell  much  like  our  texts  C  D  E,  but  it  knows  nothing  of  Bol)  Rid- 
ley. These  elements  appear  also  in  Uncle  Remus's  'De  Old  Sheep 
Sharp'  (Uncle  Renins  and  His  Friends  [1920  ed.]  207-9)  but 
again  without  Ridley.  On  the  other  hand,  his  name  has  crept  into 
a  quite  different  song,  a  form  of  'Lynchburg  Town,'  reported  from 
the  singing  of  X'irginia  Negroes  (JAFL  xxviii  139).  There  is 
perhaps  some  thread  of  connection  between  this  and  the  two  next 
following  items,  'Jimmy  My  Riley'  and  'Sheep  Shell  Corn  by  the 
Rattle  of  His  Horn.' 


'Robert  Ridley.  Hoc'  Communicated  in  191 3  by  Charles  R.  Bagley  as 
learned  from  his  grandparents  in  Moyock,  Currituck  county. 

1  Robert  Ridley  hoo,  hot 
Robert  Ridley  boo 
Robert  Ridley  boo,  what 
Makes  you  treat  dat  nigger  so? 

2  Possum  up  de  simmon  tree 
Looking  cunning  down  at  me. 
Up  wid  a  brick  and  all  on  the  sly 
Fetch  him  zip !  right  in  de  eye. 

3  I  took  him  down  to  Polly  Bell, 
For  I  knew  she'd  cook  him  well. 
Some  to  bake,  some  to  chew. 
Some  to  bile  for  the  barbecue. 

B 

'Possum  up  a  'Simmon  Tree.'  From  Miss  Lois  Johnson,  Thomasville, 
Davidson  county.  Not  dated.  Not  described  by  the  informant  as  a  corn- 
husking song,  but  evidently  a  fragment  of  the  same  song  as  .A.  The 
second  stanza  here,  like  the  first  stanza  of  A,  is  clearly  a  chorus. 

1  i'ossum  tip  a  'simmon  tree 
Looking  cunning  down  at  me. 
I'icked  up  a  rock  all  on  the  sly 
And  hit  him  zip!  right  in  the  eye. 

2  Old  l>ob  Hridelv,  ho  ho  ho 
Old  Bob  Bridely,  ho  ho  ho 
Old  P.ob  P.ridely,  ho  ho  ho 

\\  bat  made  you  fool  that  posstnn  so  ? 


W  ()  R  K      SONGS  231 

C 

'Corn  Shucking  Son.t;.'  From  Miss  Minnie  lirvan  Farrii>r,  Duplin  county. 
With  the  tune. 

1  (  )1(1  J^xil)  Ixidlfv.  coiiK'  blow  vimr  horn, 
Sheep  in  tlie  pasture,  cow  in  the  barn. 
Old  Boh  Ridley,  come  hlow  your  horn. 
Sheep  in  the  pasture,  hogs  in  the  corn. 

Chorus: 

Boys,  conie  along  and  shuck  that  corn. 
Boys,  come  along  to  the  rattle  of  the  horn  ; 
We  shuck  and  sing  till  the  coming  of  the  morn, 
Then  we'll  have  a  holiday. 

2  (  )ld  I'.oh  Ridley,  o-oh  !  o-oh  ! 

How  could  you  fool  that  possum  so? 
I  picked  up  a  rock  all  on  the  sly 
And  hit  him  zip  right  in  the  eye. 

3  I  took  him  down  to  Polly  Bell. 
Because  I  knowed  she'd  cook  him  well. 
She  made  a  frye.  she  made  a  stew, 

A  roast,  a  brile,  and  a  barbecue. 

D 

'Old  Bob  Ridley.'  From  H.  C.  Martin  of  Blowing  Rock,  Watauga 
county.  Three  stanzas  and  chorus.  The  first  stanza  corresponds  with 
negligible  differences  to  the  second  of  A,  the  second  to  the  last  stanza 
of  C  ;  tlie  chorus  runs  : 

Old  Bob  Ridley,  oh,  oh, 
Old  Bob  Ridley,  oh,  oh. 
What  made  you  treat  dat  possum    so ? 

The  third  stanza  is  new  : 

3     Ole  massa  say  he  never  see 
A  possum  half  as  fat  as  he. 
We  eat  and  we  danced  and  we  eat  all  night. 
And  we  never  eat  him  up  till  de  morning  light. 


'Possum  Tree.'  From  the  manuscripts  of  Obadiab  Johnson  of  Cross- 
nore.  Avery  county,  copied  out  in  1940.  With  the  tune.  Sung  by  Clarice 
Burleson  and  Joe  Powles,  August  8,  1940.  There  is  here  no  mention 
of  Ridley  or  of  cornhusking,  yet  it  is  clearly  a  form  of  the  song  we 
have  already  seen  in  C  and   D. 

I     IVIy  dog  did  bark  and  1  went  to  see 
A  possum  up  a  persimmon  tree. 
I  picked  up  a  rock  all  on  a  sly 
And  tuk  that  possum  ker-zi[)  in  the  eye. 


232  NORTH     CAROLINA     F  O  L  K  L  0  R  K 

CJionis: 

Although  you  know  it  is  nothing  to  me, 
I'll  talk  about  things  I  don't  like  to  see; 
Although  you  know  that  I  don't  like  to  see 
A  possum  a-climbing  right  down  at  me. 

2     1  tuk  it  down  to  1  Jolly ^  Bell 

Because  1  knew  she'd  cook  it  well. 
We  had  a  roast,  a  boil,  a  stew, 
A  bake,  a  fry,  and  a  barbecue. 


'Ground  Hog.'  Under  this  title  Alex.  Tugman  of  Todd,  Ashe  county, 
sent  in.  probably  in  1922,  the  first  stanza  and  the  chorus  of  the  C  ver- 
sion of  'Old  Bob  Ridley." 


Jimmy  My  Riley 

This  cornhusking  song  I  have  not  found  elsewhere.  The  refrain 
line,  however,  sounds  as  if  it  might  be  a  memory  of  the  refrain 
line  of  'Old  Bob  Ridley,'  and  stanzas  2  and  3  are  strongly  reminis- 
cent of  stanza  2  of  'Sheep  .Shell  Corn  by  the  Ratde  of  His  Horn,' 
below. 

'Jimmie-My-Riley.'     From  G.   S.   Black,   Cabarrus  county,  in   1920. 

1  jimmie-my-Riley  was  a  grand  old  rascal 
jimmie-my-Riley  ho 

jimmie-my-Riley  was  a  grand  old  rascal 
jimmie-my-Riley  ho 

Chorus: 

Pick  it  up  and  shuck  it  u\)  and  throw  it  over  yonder 
Jimmie-my-Riley  ho 

Pick  it  up  and  shuck  it  up  and  throw  it  over  yonder 
Jimmie-mv-Riley  ho 

2  The  cows  in  the  old  field  hornin'  jimmie  Riley 
Jimmie-my-Riley  ho 

The  cows  in  the  old  field  hornin'  jinnnie  Riley 
Jimmie-my-Riley  ho 

3  The  mules  in  tho  old  beld  kickin'  jimmie  Riley 
jimmie-my-Riley  ho 

The  mules  in  the  old  field  kickin'  jimmie  Kiley 
jimmie-my-Riley  ho 
'  So  the  manuscript;  i)robably  just  a  slip  of  the  ikmi   for  "Polly." 


WORK      S  O  N  C  S  233 

196 

SiiKKi-  SiiKij,  Corn  by  thk  Rattlk  of  11  is  Horn 

This  C()rnliuskin.u:  sonij  is  probably  connected  frenetically  with 
'Jimmy  My  Riley,'  thouf^h  which  is  source  and  which  is  product  1 
see  nothing  to  indicate.  The  curious  notion  that  a  sheep  shells 
corn  by  the  rattle  of  his  horn  appears  also  in  South  Carolina 
(JAFL  XLiv  426)  and  what  seem  like  confused  memories  of  it  in 
North  Carolina  (JAFL  xxvi  131)  and  Arkansas  (TNFS  215,  in 
the  middle  of  a  "spinning  song"!). 

A 

'Corn-Shucking  Song:  Blow,  Horn,  Blow.'  This  song  appears  three 
times  in  the  Collection,  with  only  the  slightest  variations — which  arc 
here  recorded  in  the  footnotes.  AH  the  copies  come,  through  different 
hands,  from  Miss  Elizabeth  Janet  I'.lack  of  Ivanhoe,  Sampson  county,  in 
1920.  The  first  line  of  stanza  2  seems  to  be  an  echo  of  the  correspond- 
ing line  in  'Jimmy  My  Riley.'  The  stanzas  are  sung  by  a  'leader'  and 
the  whole  company  of  buskers  come  in  on  the  chorus.  The  commas  in 
tbf  "blow  born  blow"  line  are  editorial  and  may  be  wrong. 

1  Sheep  shell  corn  hy  the  rattle  of  his  horn. 
Blow,  horn,  blow- 
Send  to  the  mill  hy  the  whippoorwiil. 
Blow,  horn,  blow^ 

Chorus: 

O!  blow  vour  horn,  blow  horn,  blow! 
(J!  blow  vom-  horn,  blow  horn,  blow! 

2  Cows-  in  the  old  field,  don't  yon  hear  the  bell? 
Blow,  horn,  blow- 
Gals  up  stairs  kicking  tip  hell ; 

Blow%  horn,  blow. 

3  Shuck  this  corn,  boys,  let's  go  home, 
Blow,  horn,  blow- 
Shuck  this  corn,  boys,  let's  go  home. 
Blow,  horn,  blow-. 

Refrain:'^ 

Hunt  for  the  nubbins,  bang  a  rang! 
Hunt  for  the  nubbins,  bang  a  rang! 

B 
'Sheep   Shell    Corn.'     Contributed   liy    Kvt-lyii    Moody   of    Stanly    county. 
Only  two  lines  remembered  : 

'  This  fourth  line  missing  in  one  of  the  copies,  dout)tless  by  oversight. 

-  One  of  the  copies  has  here  "Come." 

■''  Called  in  one  of  the  copies  "Grand  Chorus,  to  he  sung  at  the  end." 


234  NORTH     C  A  R  0  L  I  N  A     F  0  L  K  L  ()  K  K 

Sheep  shell  corn  hy  the  rattle  of  tlie  horn, 
I  never  saw  the  like  since  I  been  born. 

c 

'Sheep   Slicll   Corn."     An  anunymuus  sheet  in  the   Collection,   with  tune. 
A  reduced  form  of  A. 


197 

Bugle,  Oh  ! 

A  cornhusking  chant  that  makes  no  mention  of  cornhusking.     I 
have  not  found  it  elsewhere. 

'Corn  Shucking  Song.'  Communicated  in  1920  by  S.  M.  Holton,  Jr.,  as 
learned  in  Yadkin  county.  Each  stanza  is  made  up  like  the  first ;  that 
is,  the  leader  sings  the  first  line,  repeats  it  as  the  third  line,  introduces 
added  matter  in  the  fifth  line,  repeats  this  as  the  seventh  line;  and  the 
even-numbered  lines  are  entirely  refrain,  "Bugle  oh"  up  to  the  last  line, 
where  it  becomes  "Bugle,  oh !  Oh,  Bugle,  oh !"  Only  the  first  stanza 
is  here  given  in  full. 

1  Goin'  down  the  country, 
Bugle,  oh ! 

Goin'  down  the  country, 

Bugle,  oh ! 

Red  breast  horses, 

Bugle,  oh ! 

Red  breast  horses, 

Bugle,  oh  !  r)h,  bugle,  oh  ! 

2  Comin'  in  a  canter, 
Met  my  darlin'. 

3  Took  her  in  the  buggy. 
Courtin'  in  the  kitchen. 

4  Then  got  married  ; 
Dancin'  at  the  weddin'. 

5  We  had  a  little  baby, 
Named  him  Jimmy. 

198 

Come  to  Shuck  Dat  Corn  Tonight 

A  cornhusking  song  that  I  have  not  found  elsewhere. 
'Corn    Shucking    Song.'      Reported    by    Mrs.    C.    C.    Thomas    as    learned 
from  her  mother;  but  there  is  no  indication  of  when  or  where. 


Come  to  shuck  dat  corn  tonight. 
Come  to  shuck  with  all  your  might ; 


WORK      S  ()  N  (I  S  235 

Come  fur  to  shuck  all  in  sij^lit, 
Couie  to  shuck  (1;U  corn  tonight. 

Couie  to  shuck  dat  i^oldcn  ^rain  ; 
W'har  dar's  'nuff  dar  ai'  no  pain. 
Ef  you  shuck  'tis  all  yo  gain ; 
Come  to  shuck  dat  golden  grain. 

199 

Df.  SiiucKixn  OR  nr.  Corn 

This  appears  in  the  Collection  without  name  of  informant,  hut 
there  is  no  douht  of  its  authenticity.  Dr.  Brown  had  included  it 
in  some  sheets  that  he  prepared  for  puhlication  ahout  1916-17.  Not 
improbahly  it  is  from  his  own  early  recollection.  For  the  occur- 
rence elsewhere  of  the  opening  line,  in  Alabama  and  Mississippi, 
see  ANFS  381.  Only  the  chorus  connects  it  with  cornhusking.  The 
rest  of  it  may  go  back  to  some  Negro  minstrel  piece.  I  have  not 
found  it  recorded.  The  chorus  is  repeated  after  each  stanza.  'Tlie 
Sweet  Bye  and  Bye'  is,  of  course,  a  familiar  popular  song. 

1  White  folks  send  their  chillun  to  .school 
To  learn  to  read  and  write. 

But  niggers  send  their  chilluns  to  school 

To  larn  to  fuss  and  fight. 

You'll  never  learn  a  nigger  nuffin. 

So  ain't  no  use  to  try. 

For  the  Dehil's  guin  to  get  'em  all 

In  the  sweet  bye  and  bye. 

Chorus: 

Ain't  you  gooin'.  ain't  you  gooin. 

Ain't  you  gooin  to  de  shuckin  ob  de  corn  ? 

Yes,  Ise  gooin,  oh  yes  Ise  gooin, 

Ise  gooin  to  de  shuckin  ob  de  corn. 

2  As  I  was  walking  down  the  street 
Tother  Wednesday  night. 

I  saw  two  little  nigger  boys 

Get  into  a  fight. 

Policeman  said,  'I'll  get  you. 

But  it's  no  use  to  try  ; 

For  de  Debil  get  you  for  me 

In  the  sweet  bye  and  bye.' 

3  'Dere's  gold  in  de  mountain 
And  silver  in  de  mine ; 

All  this  I'll  give  you 

If  you  only  will  be  mine.' 


236  N  0  k  1'  H      C  A  R  0  L  I  N  A      F  O  L  K  L  0  R  IC 

"Go  away.  Old  Satan, 

You  can  fool  who  you  will. 

You  can  fool  all  the  poor  white  trash. 

But  you  can't  fool  Uncle  Bill.' 

4     'Tvvas  only  tother  Sunday  night. 
As  I  lay  half  awake. 
Old  Satan  came  to  my  bedside 
And  he  began  to  shake. 
He  shook  me  hard,  he  shouk  me  long, 
He  shook  me  out  of  bed, 
He  caught  me  by  my  necktie, 
And  this  is  what  he  said : 

The  chorus  of  tliis  song,  in  a  somewhat  different  form,  was  contributed 
( without  indication  of  time  or  place )  by  C.  L.  Walker.  Since,  in  the 
absence  of  the  tune,  1  am  not  sure  of  its  metrical  construction,  it  is 
here  given  as  in  the  manuscript : 

You  gwine,  aint  you  gwine.  aint  you  gwine  to  the  shuckin 

of  the  corn. 
O  yes  I  gwine  to  stay  to  morning  when  (jable  blows  his 

horn, 
Am  gwine  to  stay  till  the  coming  of  the  dawn. 


200 
Shuck  Corn,  Shell  Corn 

This  cornhuskin^^  song  has  already  been  reported  by  Perrow 
(JAFL  xxviii  139)  from  the  singing  of  North  Carolina  Negroes: 
I  have  not  found  it  elsewhere. 

'Shuck  Corn.'  Communicated,  probably  in  1922  or  thereabouts,  by  Mrs. 
Nilla  Lancaster  from  Wayne  county,  and  also,  with  almost  identical 
text,  by  Miss  Clara  Hearne  of  Pittsboro,  Chatham  county,  in  1923.  The 
last  four  lines  appear  to  be  a  chorus. 

Shuck  corn,  shell  corn. 

Carry  corn  to  mill. 

Cirind  de  meal,  gimme  de  luisk. 

l)ake'  de  bread,  gimme  de  crust. 

b"ry  de  meat,  gimme  de  skin — 

And  dat's  de  way  to  bring  'em  in. 

\\'(jn't  y(ni  git  up,  old  hor.se? 
I'm  on  de  road  to  Brighton. 
Won't  you  git  up,  old  horse? 
I'm  on  de  road  to  I  Brighton. 

'So  Mrs.   Lancaster's  text;    .Miss   Hearne's   lias   here  "break." 


W  ()  K  K     SONGS  237 

201 

Round  It  Lr  a  IIkat  It  Up 

ihis  Ini^kin^  sont;  is  a  composite.  Tlie  opening  stanza  is  a  mem- 
ory of  the  cliorus  of  "Jimmy  My  Riley.'  Mrs.  Steely  found  it  in 
the  Ebenezer  community  in  Wake  county.  The  central  stanza  is 
a  part  of  the  sontj  "My  Honey,  My  Love'  in  Harris's  Uticlc  Ronns 
and  His  hricinis.  ihe  Juha  lines,  which  the  informant  does  not 
j)rescnt  as  really  a  part  of  the  song,  are  a  dance  song.  See  ANFS 
163  and  the  references  there  given. 

'Corn  Shucking  Song.'     Contributed  by  Miss  Amy  Henderson  of  Worry, 
Burke  county.  ])robably  in  IQ14. 

Round  it  up  a  heap  it  tip  a 
Round  it  up  a  corn 
A-jooi^-a-loa 

De  big  owl  hoot  and  cry  for  his  mate 

My  honey,  my  love! 

Oh.  don't  stay  long,  oh.  don't  stay  late 

My  honey,  my  love ! 

It  ain't  so  ftir  to  de  goodby  gate 

Oh,  my  honey,  my  love ! 

"And  when  they  wouUl  finisli  slnicking,"  says  the  informant,  "sometimes 
they  would  pat  this  : 

julja  (lis  and  juha  dat 

And  juha  killed  de  yaller  cat. 

Juha !  juha ! 

and  several  would  jump  up  auti  take  stei)s  in  time  to  it." 


202 

0)RN-Shucking  Song 

This  is  written  in  Dr.  Brown's  hand  at  the  foot  of  the  typescript 
of  'De  Shucking  oh  de  Corn'  (see  above),  among  sheets  that  he 
was  preparing  for  publication  in  1916-17.  It  is  fairly  close  to  one 
of  Uncle  Remus's  songs  as  given  in  Bright's  edition  of  Uncle 
RcDiiis.  His  So)tgs  and  Sayings,  pp.  184-7.  ^'""  "the  lost  ell  and 
yard,''  which  means  the  constellation  Orion  with  its  belt  and  sword 
or  club,  see  Annie  Weston  Whitney's  article  in  JAFL  x  293-8. 

Oh,  de  fus  news  ye  know  de  day'll  be  a-breakin', 

Heyho !  Hi  O!  Up  '11  down  de  banjo 

An'  de  fire  be  a-btirnin'  an  de  ash  cake  a  bakin', 

Heyho!  (etc.,  as  above) 

An'  de  hen'll  be  a-hollerin'  an'  de  boss'll  be  a-wakin', 

Heyho  !  (etc.,  as  above) 


238  NORTH     CAROLINA     FOLK  L  OR  K 

Better  git  up,  nigger,  an  give  yoself  a  shakin'. 

Hi  O  !  Miss  Cindy  Ann  ! 

Fo'  de  los'  ell  an'  yard  is  a-huntin'  fer  de  mornin". 

Hi  O !  git  along,  go  'way 

En'  she'll  ketch  up  wid  us  fo'  we  ever  git  dis  corn  in  ; 

O  go  'way,  Cindy  Ann. 

203 

The  Old  Turkey  Hex 

This  I  have  not  found  recorded  elsewhere.  Dr.  Brown  notes  on 
the  manuscript  that  the  informant  learned  it  on  her  father's  farm 
in  Montgomery  county. 

'The  Old  Turkey  Hen.'  Reported  by  Miss  Jewell  Robbins  (afterwards 
Mrs.  C.  P.  Perdue),  Pekin,  Montgomery  county,  some  time  between 
1921  and  1924,  with  the  notation  that  it  is  a  "corn-shucking  hollow"  in 
which  the  leader  sings  the  odd-numbered  lines  as  he  walks  the  corn  pile 
and  the  shuckers  sing  the  refrain,  the  even-numbered   lines. 

1  Seven  years  a-boiling 
Ho-ma-hala-way 
Seven  years  a-baking 
Ho-ma-hala-way. 

2  They  blowed  the  horn  for  dinner 
Ho-ma-hala-way 

The  people  could  not  eat  her 
Ho-ma-hala-way. 

3  They  carried  her  to  the  old  field 
Ho-ma-hala-way 

The  buzzards  could  not  eat  her 
Ho-ma-hala-way. 

204 
Rux,  Sallie,  My  Gal 

Submitted  as  a  "corn-sliuckins'  hollow"  in  which  the  leader  walks 
the  corn  pile  and  sings  the  first  line  each  time  and  those  who  are 
shucking  answer  with  "bu-ga-lo."  I  have  not  found  it  in  print. 
It  should  perhaps  have  been  entered  as  a  form  of  'Bugle.  Oh!' 
above. 

'Run,  Sallie,  My  Gal.'  Communicated  in  1921  by  Miss  Jewell  Robbins 
(later  Mrs.  C.  P.  Perdue),  Pekin,  Montgomery  county.     With  the  music. 

I     Run,  Sallie,  my  gal 
Bu-ga-lo 

Run,  Sallie,  my  gal 
Bu-ga-lo. 


w  ()  K  K    SO  i\  (;  s  239 

J     Tlic  bull  in  the  iiK-adcw 
Bu-ga-lo 

As  fat  as  he  can  wallow  ' 
r.u--a-lo. 

205 

Up  Roanoke  and  Down  tiik  Rivkr 

Another  c()rnliuskin,t!:  song.  I  have  not  found  it  elsewhere.  It 
consists  of  single  lines,  followed  always  by  the  refrain  line,  which 
is  the  same  throughout.  Each  of  the  single  lines  is  repeated  once, 
making,  with  the  refrain  line,  a  four-line  stanza.  A  leader  sings 
the  single  lines,  the  whole  company  of  buskers  comes  in  on  the 
refrain.  Only  the  first  such  stanza  is  here  given  in  full;  after  that, 
the  single  lines. 

'The  Old  Corn  Song  of  Long  Ago.'  Reported  by  S.  M.  Holton,  Jr..  as 
sung  in  Davidson  county.  The  refrain  line  in  the  manuscript  is  headed 
throughout  by  the  word  "Drines,"  the  meaning  of  wliicli  the  editor  does 
not  know ;  the  other  lines  are  headed  "Leader." 

1  Up  Roanoke  and  down  the  river. 
Oho,  we  are  'most  done. 

Up  Roanoke  and  down  the  river. 
Oho.  we  are  'most  done. 

2  Two  canoes,  and  nary  paddle. 

3  There  is  where  we  run  the  devils. 

4  Away  over  in  reedy  bottom. 

5  There  is  where  we  trick  the  devils. 

6  jack  de  Gillam  shot  the  devils. 

7  Blue  hall  and  a  jxjund  of  powder. 

8  Shot  him  in  the  rim  of  the  belly. 

9  That's  the  way  we  killed  the  devils. 

206 

HiDI   Qui  LI   LODI   QUILI 

The  final  stanza  of  this  cornhusking  song  appears  in  version  E 
of  'Said  the  Blackbird  to  the  Crow';  also  (with  "crane"  for  "crow," 
which  betters  the  rhyme)  in  Talley's  Negro  Folk  Rhymes  59  and 
Randolph's  OFS  11  356,  from  Missouri.  Stanzas  i  and  2  I  have  not 
found  elsewhere. 

'  This  is  more  often  found  as  the  description  of  some  swain's  "girl  in 
the  hollow." 


240  NORTH  CAROLINA  FOLKLORE 

'Hidi,  Quili,  Lodi,  Quili  (Corn  Shucking  Song).'  Reported  in  1913  by 
Charles  R.  Bagley  as  heard  from  his  grandparents  in  Moyock,  Currituck 
county. 

1  Hidi,  quili,  lodi,  quili, 
Hidi,  quili,  quackeo, 

If  you'd  uh  been  as  I'd  uh  been 
You  would  uh  been  so  pretty  O ! 

2  yuinckuni  quanckum  made  a  song 
And  he  sang  it  all  along, 

Heels  in  the  path  and  toes  in  the  grass. 
Don't  take  nothing  but  dollar  and  half. 

3  The  ole  fish  hawk  said  to  the  crow, 
T  hope  to  the  Lord  tonight  it'll  rain; 
The  creeks  am  muddy  and  millpond  dry  ; 
'Twasn't  for  tadpoles  minnows  all  die.' 

207 

Here,  Jola,  Here 

This  seems  to  be  a  hunting  song  (cf.  'Old  Blue')  used  to  accom- 
pany the  work  of  cornhusking.     I  have  not  found  it  elsewhere. 

'Corn  Husking  Song.'  Communicated  by  CaroHne  Biggers  of  Monroe, 
Union  county,  with  the  explanation  that  the  leading  part,  i.e.,  the  odd- 
numbered  lines,  is  taken  by  one  male  voice  and  the  even-numbered  lines, 
i.e.,  the  chorus,  are  sung  in  unison. 

Jola  was  a  coon  dog. 
Here,  Jola,  here. 

Jola  was  a  possum  dog. 
Here,  Jola,  here. 

Jola  was  a  rabbit  dog. 
Here,  Jola,  here. 

Jola  was  a  bird  dog. 
Here,  Jola,  here. 

208 

Come  away  from  Tii.\t  (  )lu  Max 

Reported  as  "a  call  for  hogs — tune  quite  musical"  (but  the  music 
is  not  scored  on  the  manuscript),  this  looks  like  a  fragment  of  a 
ballad.     I  have  not  found  it  elsewhere. 

'Come  away  from  That  Old  Man.'  Submitted  by  Frederica  Jenkins  of 
Wilmington,  New   Hanover  county.     Not  dated. 

Come  away  from  that  old  man  ! 
He  will  kill  you  if  he  can. 
Come  awav,  o-oh ! 


WORK      S  C)  N  G  S  241 

209 

Sally,  Molln,  I'olly 

A    hojj-calliiig    chant    from    Wake    county,    rcporti-d    in    k^j^    by 
Beulah  Walton  of  Morrisville. 

Sallv.  Alollv.  Pullv.  O • 


Come  on git  cawn  ! 

Little  in  the  basket,  more  in  the  crib, 
Come  on git  cawn  ! 

210 

Down  on  the  Farm 

This  song  about  tlie  good  old  days  of  childhood  is  not  properly 
speaking  folk  song,  though  it  has  approached  that  status  in  North 
Carolina :  it  appears  four  times  in  our  collection  as  traditional 
song.  A  more  compelling  evidence  of  its  popularity  is  the  fact  that 
it  has  prompted  a  parody.     The  four  regular  texts  are : 

A  From  W.  Amos  Abranis  of  Boone,  Watauga  county. 
B  From  O.  L.  Coffey,  ShuH's  Mills,  Watauga  county. 
C  From  Mrs.  Mary  Martin  Copley,  Durham. 
D  From  Miss  Clara  Hearne,  Pittsboro,  Chatham  county. 

Since  these   texts   do   not   differ   significantly    (except   that   D   is   incom- 
plete) it  will  be  sufficient  to  give  one  of  them.  Professor  Abrams's. 

1  While  a  boy  I  used  to  dwell  in  a  home  I  loved  so  well, 
Far  away  among  the  clover  and  the  bees  ; 

Where  the  morning-glory  vine  round  the  cabin  porch  did 

twine, 
\\  here  the  robin-redbreast  sang  among  the  trees. 

Chorus: 

Oh,  many  weary  years  have  i)assed  since  T  saw  the  liome 

place  last, 
And  a  memory  dear  steals  o'er  me  like  a  charm  ; 
Every  old  familiar  place,  every  kind  and  loving  face, 
In  my  boyhood's  happy  day  down  on  the  farm. 

2  Oh,  there's  a  father  old  and  grey,  there's  a  sister  \()iuig 

and  gay, 
.\  mother  dear  to  shield  us  from  all  harm  ; 
There  1  spent  life's  happy  hours  running  wild  among  the 

flowers. 
In  mv  boyhood's  happy  days  down  on  the  farm. 

3  -And  today,  as  I  draw  near  the  old  home  1   love  so  dear, 
A  stranger  comes  to  meet  me  at  the  door; 

X.C.F.,  Vol.  TTI.   ri8) 


242  NORTH      CAROLINA     F  0  L  K  L  0  R  K 

'Round  the  place  there's  many  a  change,  and  the  faces  all 

seem  strange. 
Not  a  loved  one  comes  to  meet  me  as  of  yore. 

4     And  my  mother  dear  is  laid  'neath  the  old  elm  tree's  quiet 
shade, 
Where  the  morning's  golden  sun  shines  hright  and  warm ; 
And  it's  near  the  old  fireplace  there  I  see  a  stranger's  face 
In  mv  father's  old  arm-chair  down  on  the  farm. 


And  now  for  the  realist's  report  of  life  down  on  tlie  farm. 
'Down  on  the  Farm.'     Contributed  l)y   Macie  Morgan  of  Stanly  connty. 

1  Down  on  the  farm  'bout  half  past  four 

I  slip  on  my  pants  and  sneak  out  the  door. 

Out  in  the  yard  I  run  like  the  dickens 

To  milk  all  the  cows  and  feed  all  the  chickens. 

Clean  out  the  barnyard,  curry  Rhoda  and  Jiggs, 

Separate  the  cream  and  slop  all  the  pigs. 

Hustle  two  hours,  then  eat  like  a  Turk. 

By  heck  !  I  am  ready  for  a  full  day's  work. 

2  Then  I  grease  the  wagon  and  put  on  the  rack. 
Throw  a  jtig  of  water  in  the  old  grain  sack, 
Hitch  uj)  the  mules,  slip  down  the  lane — 
Must  get  the  hay  in,  looks  like  rain. 

Look  over  yonder !     Sure's  I  am  born. 

Cows  on  the  rampage,  hogs  in  the  corn. 

Start  across  the  meadow,  run  a  mile  or  two 

Heaving  like  I  am  wind-broken,  get  wet  clean  through. 

3  Back  with  the  mules  ;  then,  for  recompense, 
Rhoda  gets  a-straddle  the  barb-wire  fence. 
Joints  are  aching,  muscles  in  a  jerk. 
"Whoop !  fit  as  a  fiddle  for  a  full  day's  work. 
Work  all  the  summer  till  winter  is^  nigh. 

Then  figure  at  the  bank  and  heave  a  big  sigh. 
Worked  all  the  year,  didn't  make  a  thing ; 
Less  cash  now  than  I  had  last  spring. 

4  Some  folks  say  there  ain't  no  hell. 

.Shucks!     They  never  farmed;  how  can  they  tell? 
When  spring  rolls  round  and  I  take  another  chance. 
As  fuzz  grows  longer  on  my  old  gray  pants. 
(Hve  my  galluses  a  hitch,  belt  another  jerk, 
(iosh!     I'm  ready  for  a  full  year's  work. 

*  The  manuscript  has  instead  "tlie,"  doubtless  by  a  mere  slip  of  the  pen. 


W  ()  U  K     SONGS  243 

211 

Negro  Cotton-Pic  ker 

Brief  as  this  is,  it  is  a  coniijosite.  Soniethins'  like  the  tirst  line 
is  reported  from  Alahaiiia  (ANFS  285)  ;  the  last  two  lines  are 
something-  of  a  commonplace  in  Negro  song,  reported  from  Vir- 
ginia (JAFL  xxviii  140)  and  South  Carolina  (JAFL  xliv  432) 
and  without  definite  location  by  Odum  (JAFL  xxiv  267)  and  the 
Loniaxes  (ABFS  234). 

No  title.     Communicated  in   UJ23  by   Mrs.   Xilla   Lancaster  from   Wayne 
county. 

Way  down  in  de  bottom,  when  the  cotton's  all  rotten, 

Can't  pick  a  hundred  a  day. 

Aui^ht  tor  auti^ht,  and  Hijger  for  tigger. 

All  for  de  white  man  an'  none  for  de  nigger. 

212 

Pickin'  Out  Cotton 

This  looks  like  an  authentic  work-song,  but  I  have  not  found  it 
elsewhere.  The  longer  text  appears  in  the  Collection  in  Dr.  Brown's 
hand  but  without  indication  of  source;  probably  he  took  it  down 
from  someone's  singing  but  neglected  to  note  wdio  sang  it,  and 
where,  and  when.  The  shorter  version  does  not  dit¥er  from  the 
longer  except  by  lacking  the  second  half. 

A 

'Pickin'  out  Cotton.'     Manuscript  in  Dr.   P>rown's  hand  without  notation 
of  date  or  source. 

'1  fello.  my  little  girl,  which  away,  which  away. 

Which  away,  which  away,  which  away,  which  away ?' 

'Mammy  sent  me  to  pickin'  out  cotton  ; 

Daddy  said  the  seed's  all  rotten.' 

'How  can  you  tell  that  the  seed's  all  rotten. 

How  can  you  tell  that  the  seed's  all  rotten  ?' 

'Can't  I  tell  by  looking  at  the  cotton. 

Can't  I  tell  by  looking  at  the  cotton? 

(  )h,  won't  yoti  gimme  chow  terbocker,  tih  ? 

( )h,  I  w  ant  a  chow  terbocker,  uh. 

( )h,  won't  you  gimme  chow  terbocker? 

(  )h.  can't  \-ou  gimme  chow  terbocker?' 

'llello.  my  little  girl,  which  away,  which  away, 

W  Inch  away,  which  away,  which  away,  which  away  ?' 

'All  the  way  to  July  Ann  Clebber, 

All  the  way  to  July  Ann  Clebber. 

That's  the  death  my  heart  can  sever, 


244  ^'  O  R  T  II     CAROLINA     FOLKLORE 

That's  the  death  niv  heart  can  sever. 
Oh,  won't  you  gimme  chow  terhocker, 
Oh,  won't  you  gimme  chow  terbocker? 
Mammy's  sent  me  to  pickin'  cotton, 
Daddy  swore  the  seed's  all  rotten.' 
'How  can  you  tell  that  the  seed's  all  rotten?' 
'Can't   1  tell  by  looking  at  the  cotton? 
Oh.  gimme  chow  terbocker,  uh.' 

B 

'Pickin'  out  Cotton.'  Obtained  from  A.  J.  (or  from  J.  H.)  Burrus, 
Weaverville,  Buncombe  county,  in  August  1922.  With  the  tune.  The 
first  eight  lines  are  the  same  as  in  A  ;  and  then  it  runs  :  "Then  the  per- 
former gets  in  a  big  way  and  goes  off  on 


Ho — won't  you  give  me  chaw  o'  tobacco. 
Ho — won't  you  give  me  chaw  o'  tobacco, 
ad  infinitum." 


213 
The  Humble  Farmer 

The  Loinaxes  (OSC  280-1  )  report  this,  with  the  variations  to  be 
expected  in  anything  that  passes  by  oral  tradition,  as  sung  by  a 
Negro  share-cropper  in  Texas  in  1934.  It  presents  a  fairly  vivid 
picture  of  the  plight  of  the  share-croppers  in  the  cotton  country. 

'The  Humble  Farmer.'  Obtained,  sometime  in  the  period  1921-24,  from 
Miss  Jewell  Robbins  (later  .Mrs.  C.  P.  Perdue),  Pekin,  .Montgomery 
county.     The  last  two  lines  of  the  first  stanza  should  probably  read 

'Twas   caused   by   picking  cotton 
From  out  the  cotton  bolls. 

What  is  here  marked  "chorus"  is  merely  another  stanza  in  the  Te.xas 
version,  where  the  chorus  is  only  two  lines. 

I      1  saw  an  humble  farmer ; 
1  lis  back  was  bending  low, 
A-picking  out  the  cotton 
Along  the  cotton  row. 
His  shirt  was  old  and  ragged. 
His  pants  were  full  of  holes; 
'Twas  caused  bv  picking  oiU  the  cotton  bolls, 
Tlie  cottfin  from  the  bolls. 

Chorus: 

'Now  pay  me,'  says  the  merchant, 
'Pay  me  all  you  owe. 
Unless  you  pay  me  up,  sir, 


COTTON    P  I  C  K  P:  R  S 


U    (IRK      S  U  N  (1  S  245 


I'll  sell  to  you  no  more.' 

'1  cannot  pay,'  says  farmer. 

'1  cannot  pay  at^  all. 

You  sold  your  goods  so  high,  sir 

I'll  finish  \t  next  fall' 

2     Up  steps  a  fair-skinned  merchant 
With  a  high-top  derhy  on. 
Says  'F^ay  nie,  Mr.  Farmer, 
Or  you  to  me  belong.' 
'I  cannot  pay,'  says  farmer, 
I  cannot  pay  at^  all ; 
I'll  pay  you  some  today,  boss, 
And  finish  it  next  fall.' 


214 
Boll  Weevil  Blues 

The  boll  weevil  invaded  Texas  from  Mexico  about  the  end  of 
the  nineteenth  century;  now  he  is  known  and  dreaded  wherever 
cotton  is  grown  in  the  United  States.  And  the  song  about  him  is 
perhaps  equally  ubiquitous.  Its  origin  is  as  obscure  as  that  of  'Joe 
Bowers'  or  'Jesse  James.'  Texts  vary  somewhat,  but  are  pretty 
sure  to  emphasize  "the  weevil's  relentless  determination  to  find  a 
home.  For  other  texts  see  AMS  90-1,  ANFS  351-3,  ASb  8-10, 
FSAI  199-200,  TNF.S  77-9,  ABFS  112. 

A 

'Boll  Weevil  Blues.'     Obtained  from  Olxicliah  Johnson,  Crossnore,  Avery 
county,  in  1940. 

1  Farmer  said  to  the  boll  weevil, 
'I  see  you're  on  the  square.' 
Boll  weevil  said  to  the  farmer, 
'And  my  whole  family's  there ; 
I  have  a  home,  I  have  a  home. 

2  'Look  up  your  bar'l  o'  pizen, 
And  scatter  it  on  the  row,' 
Boll  weevil  said  to  the  farmer ; 
'You  scatter  pizen,  though 

I  have  a  home,  I  have  a  home.' 

3  Boll  weevil  said  to  the  lightning  bug 
'Kin  I  get  up  a  trade  with  you? 

Ef  I  wuz  a  lightning  hug 
Fd  work  the  whole  night  through. 
All  night  long,  all  night  long.' 
^  So  the  manuscript ;  the  context   indicates  tliat  "at"  shonld  be  "it." 


246  NORTH     CAROLINA     FOLKLORE 

4  'Don't  you  see  how  them  creeturs 
Now  have  done  me  wrong? 

Boll  weevil's  got  my  cotton 
And  the  merchant's  got  my  corn. 
What  shall  I  do  ?    What  shall  I  do  ?' 

5  Boll  weevil  said  to  the  merchant, 
'Better  drink  you^  cold  lemonade; 
When  I  git  thru  with  you 
Gwine  drag  you  out  o'  the  shade — 
I  have  a  home !     I  have  a  home  !' 

6  Boll  weevil  said  to  the  doctor, 
'Better  po'  out  all  them  pills ; 
When  I  get  through  with  the  farmer 
He  can't  pay  no  doctor's  bills — 

I  have  a  home  !     I  have  a  home  !' 

7  iioU  weevil  said  to  the  preacher, 
'Better  shet  your  church  house  door; 
When  I  get  thru  with  the  farmer 

He  can't  pay  the  preacher  no  more — 
1  have  a  home  !     1  have  a  home !' 

8  Boll  weevil  said  to  the  farmer, 
'Better  sell  yo'  old  machine; 
\Mien  I  get  thru  with  you 
You  can't  buy  no  gasoline — 

I  have  a  home  !     I  have  a  home !' 

9  Boll  weevil  said  to  his  wife, 
'Better  stan'  up  on  yo'  feet 

'N  look  way  down  here  in  Georgy 
At  all  the  cotton  we  got  to  eat — 
All  night  long,  and  all  day  too !' 

10     I^oll  weevil  said  to  the  farmer, 
'1  wisht  that  you  wuz  well.' 
{•"arnier  said  to  the  boll  wee\il, 
'I  wisht  you  wuz  in  hell!' 
l')oll  weevil  blues!     I'oll  wee\il  blues! 

B 
'Roll   Weevil   Bines.'     I^'roiii  the  John    lUirch    lUaylock   Collection. 

I      I'.oll  Weevil  said  to  the  doctor, 
'You  can  roll  out  your  little  pills; 
When  I  get  through  with  the  cotton 
^'ou  can't  i)ay  no  doctor's  bills. 
i  want  your  home.  I  want  your  home.' 

'  So  tlu'  inannscript  ;   prfihahiy  slionld  lie  "yo." 


W  ()  K  K      SON  C.  S  247 


2  lioll  Weevil  said  to  the  store-keeper, 
'You  can  .  .  .  out  your  uieat ; 
W'heu  I  get  through  with  tlie  cottou 
You  wout'  have  nothing  to  eat. 

1  want  your  home,  I  want  your  home.' 

3  r.oll  Weevil  said  to  the  farmer. 
'1  wish  you  mighty  well.' 

The  farmer  said  to  the  Boll  Weevil. 

'1  wish  you  were  in — Hope  Dale.' 

'I  want  your  home,  I  want  your  home. 

4  The  farmer  said  to  the  Boll  Weevil, 
'I  thought  you  were  on  the  square.' 
The  Boll  Weevil  said  to  the  farmer, 
'My  whole  dang  family's  there. 

1  vvant  vour  home.  T  want  your  home.' 


215 
Ole  Massa's  Going  Away 

This   might  be  accounted  a   work   song  in   reverse.      1   have   not 
found  it  elsewhere. 
'Ole  Massa's  Coin'  Away.'     From  C.  M.   Hutchings,  Durham,  c.   1913- 

Ole  Massa's  goin'  away,  boys. 

He's  goin'  to  see  his  brother. 

We'll  wait  till  he  gets  out  of  sight, 

Then  we'll  throw  down  the  hoe  and  the  shovel. 


216 
The  Man  Who  Wouldn't  Hoe  His  Corn 

For  reports  of  this  purely  indigenous  American  song  from  other 
regions,  see  BSM  440  and' add  to  the  references  there  given  Vir- 
ginia (FSV  172-3),  South  Carolina  (OSC  286-7).  Arkansas  (OFS 
III  196),  Indiana  (BSI  307),  and  Ohio  (BSO  243-4). 

"The  Man  Who  Wouldn't  Hoe  Corn.'  Obtained  in  the  summer  of  1945 
by  Professors  W.  Amos  Abrams  and  Gratis  D.  Williams  of  the  Appa- 
lachian State  Teachers  College  from  Pat  Frye  of  East  Bend.  Yadkin 
county,  concerning  whom  see  the  headnote  to  version  G  of  'Lady  Isabel 
and  tile  Elf-Knight'  in  Volume  II. 

I      There  was  a  young  man  lived  on  Beaver's  Creek, 
He  didn't  make  corn  for  to  .sell  nor  keep; 
And  for  the  reason  T  can't  tell. 
For  this  young  man  was  always  well. 


248  NORTH      C  A  R  0  L  I  N  A      K  O  I.  K  L  O  R  E 

2  He  went  to  his  corn  field  and  looked  in. 
Shallot  weeds  was  to  his  chin ; 

The  weeds  and  grass  so  thick  did  grow 
That  he  was  afraid  to  venture  with  his  hoe. 

3  The  nearest  house  that  he  went  to, 
The  girl  he  courted,  I  suppose, 

She  says  to  this  young  man  in  a  great  scorn. 

'Oh,'  she  says,  'young  man.  have  you  wed  out  your  corn?" 

4  He  answered  her  with  this  reply : 
'No,  kind  miss,  I've  laid  it  by. 
There  is  no  use  to  strive  in  vain 

When  I  know  I  shan't  make  nor  a  grain.' 

5  'What  is  the  use  for  us  to  wed. 

When  you  can't  make  your  own  l)read  ?' 
Saying  'All  I  am  I  expect  to  remain. 
For  a  lazy  man  I  shan't  maintain.' 

217 
The  Old  Chisholm  Trail 

The  cowboy  classic,  sung  probably  wherever  cattle  are  driven 
over  the  plains  to  market.  See  CS  28-37.  Randolph  (OFS  11 
174-5)  has  found  it  in  Arkansas.  Neely  and  Spargo  (TSSI  184-5) 
report  a  song  with  the  same  refrain  but  a  widely  different  text  from 
Illinois. 

The  Old  Chisholm  Trail."     From  the  John  Burch  Blaylock  Collection. 

1  Come  along,  boys,  and  listen  to  my  tale. 

I'll  tell  you  of  my  troubles  on  the  old  Chisholm  trail. 

Refrain: 

Come  ti  yi  youpy  youpy  ya  youpy  ya, 
Come  ti  yi  youpy  youpy  ya. 

2  I  started  up  the  trail  October  twenty-third. 
I  started  up  the  trail  with  the  2-U  herd. 

3  ( Jh,  a  ten  dollar  boss  and  a  forty  dollar  saddle. 
And  I'm  goin'  to  punchin'  Texas  cattle. 

4  I  wake  u])  in  the  morning  on  the  old  Chisholm  trail, 
Rope  in  niv  hand  and  a  cow  by  the  tail. 

5  I'm  uj)  in  the  mornin'  afore  daylight. 
And  afore  I  slecj)  the  moon  shines  bright. 

6  (  )ld  P>en   l')<)lt  was  a  tine  old  man. 

And  you'd  know  there  was  whiskey  wherever  he'd  land. 


WORK     SONGS  249 

7  Mv  lins.s  ihrowi'd  UK'  oft"  ;it  tlic  creek  called  Mud; 
My  lu)ss  throwed  uic  olt  'it >uud  the  J-V  herd. 

8  Last  time  he  was  i^oiui,^  'cross  the  level, 
A-kickin<;-  up  his  heels  and  a-running;  like  the  devil. 

9  It's  cloudy  in  the  west,  a-looking  like  rain. 

And  mv  damned  old  slicker's  in  the  wat^on  aj^ain. 

10  Crippled  my  hoss,  1  don't  know  Ikjw, 
Ropin'  at  the  horns  of  a  2-U  cow. 

1 1  We  hit  C  aldwell  and  we  hit  her  on  the  fly. 
We  hedded  down  the  cattle  on  the  hill  close  hy. 

12  No  chaps,  no  slicker,  and  it's  pourini;-  down  rain; 
And  1  swear,  liy  all,  I'll  never  night-herd  again. 

13  Feet  in  the  stirruj^s  and  a  seat  in  the  saddle, 

I  hung  and  rattled  with  them  long-horned  cattle. 

14  Last  night  1  was  on  guard  and  the  leader  hroke  ranks; 
I  hit  my  horse  on  the  shoulders  and  1  spurred  him  in  the 

flanks. 

15  The  wind  commenced  to  hlow,  and  the  rain  hegan  to  fall; 
It  looked,  hy  gral),  like  we  was  goin'  to  lose  'em  all. 

16  I  jumped  in  the  saddle  and  grabhed  holt  the  horn, 
Best  blamed  cowpuncher  ever  was  born. 

17  I  popped  my  foot  in  the  stirrup  and  gave  a  little  yell; 
The  tail  cattle  broke  and  the  leaders  went  to  hell. 

18  I  don't  give  a  damn  if  they  never  do  stop, 
ril  ride  as  long  as  an  eight-day  clock. 

19  Foot  in  the  stirrup  and  hand  on  the  horn, 

Fm  the  best  damned  cowboy  that  ever  was  l)orn. 

20  I  herded  and  I  hollered,  and  I  done  very  well. 
Till  the  boss  said,  'Boys,  just  let  'em  go  to  hell.' 

21  There's  a  stray  in  the  herd  and  the  boss  said  kill  it, 

.So  I  shot  him  in  the  rump  with  the  handle  of  the  skillet. 

22  We  rounded  'em  u]),  and  we  put  'em  on  the  cars. 
And  that  was  the  last  of  the  old  Two-Bars. 

23  Oh.  it's  bacon  and  beans  most  every  day ; 
Ld  as  soon  be  eatin'  prairie  hay. 

24  I'm  on  mv  best  horse  and  Fm  going  at  a  run, 

Fm  the  tjuickest  shooting  cowboy  that  ever  pulled  a  gun. 


250  N  0  R  T  H     C  A  K  O  I.  I  X  A     F  0  L  K  L  0  R  E 

-'5 


1  wt-'iit  t(i  the  boss  to  draw  my  roll, 

To  come  back  to  Texas,  dad-burn  mv  soul. 


26  I  went  to  the  boss  to  draw  my  roll ; 

He  had  it  tiggered  out  I  was  nine  dollars  in  the  hole. 

27  I'll  sell  my  outfit  just  as  soon  as  I  can; 

I  won't  punch  cattle  for  no  damned  man. 

j8     (ioin'  back  to  town  to  draw  my  money, 
Goin'  back  Ikjuic  to  see  my  honey. 

jg     With  my  knees  in  the  saddle  and  my  seat  in  the  sky, 
I'll  (|uit  punching  cows  in  the  sweet  bye  and  bye. 

218 
The  Uuke  of  Buckingham 

This  song  of  the  fox  liunt  is  quite  certainly  descended  from  a 
broadside  preserved  in  the  Roxburghe  collection,  'The  Fox-Chace ; 
Or,  The  Huntsman's  Harmony,  by  the  Noble  Duke  of  Bucking- 
ham's Hounds'  (R.  B.  i.  360-4).  The  names  of  the  hounds  are  not 
the  same,  but  the  structure  is.  By  what  stages  the  song  has  come 
'lown  from  seventeenth-century  England  to  twentieth-century  North 
Carolina  has  not  been  discovered.  Our  text  is  only  a  two-stanza 
fragment.  Chappell  (  FSRA  176-8)  reports  a  much  fuller  version, 
'»-ith  the  music. 

'The  Duke  of  Buckingham.'  An  "ohl  hunting  song"  collected  I)y  Julian 
P.  Boyd  of  Alliance,  Pamlico  county,  in  \^)2/,  irom  James  Tingle,  one 
of  his  pupils  in  the  school  there. 

1  The  Duke  of  Buckingham, 
One  morning  in  May, 
Went  out  to  take  a  fair  trial. 
He  had  dogs  of  his  own. 
Just  as  good  as  ever  known  ; 
Nary  one  in  the  pack  did  tire. 

2  There  wa.^  i'aylor  and  jowler, 
Lesbe  and  Knowler, 

Ringwood,  Rtishwood,  and  Crowner, 

Mary,  Lester,  Seamster, 

Julie,  i'dower,  and  (lamester, 

( )verwf)od,  Rookwood,  and  lierrin.  .  .  . 

219 

Thk  Wh.o  .Asii!'.  1)ki:k 

Hardly  folk  song,  perhaps,  this  i)iece  has  none  the  less  an  interest 
for    studeiUs    tO     folklore.      According    to    the    contributor,    "A    real 


W  ()  R  K      SON  (".  S  251 

(Iccr  chase  from  Ashe  county  into  Watauga  inspired  one  of  the 
pursuers  to  write  this  poem.  The  scene  of  tliis  chase  started  not 
far  from  Jefferson  in  Ashe  county."  That  is  the  local  legend.  But 
1  have  found  no  one  who  can  confirm  it  as  to  person  and  date. 
On  the  other  hand,  there  is  plenty  of  evidence  that  the  song  was 
current  as  a  printed  hallad  ahout  a  hundred  years  ago.  The  Los 
.Angeles  I'uhlic  Library  has  a  broadside  of  it,  the  text  identical 
with  Mrs.  Hyers's,  which  was  published  by  John  IL  Johnson,  "Song 
Publisher,'"  at  7  North  Tenth  .Street,  Philadelphia;  and  Mrs.  Clark 
Larrabee  of  the  Free  Library  of  Philadelphia  tells  me  that  Johnson 
did  business  as  a  stationer  at  that  address  from  1858  to  1865,  hav- 
ing been  in  business  in  Philadelphia,  though  not  at  that  address,  as 
early  as  1849.  The  Free  Library,  Mrs.  Larrabee  further  informs 
me,  has  in  its  files  of  unbound  sheet  music  a  copy  of  'The  Wild 
Ashe  Deer,'  music  by  Mrs.  V.  Pendleton,  published  in  Philadelphia 
by  Lee  &  Walker  in  1854.  This  edition  is  not  illustrated;  but  she 
is  advised  by  an  expert  on  early  American  sheet  music  that  there 
is  an  earlier  edition  which  is  illustrated.  Johnson's  print,  "revised 
and  printed  expressly  for  the  Public  Schools,"  has  a  spirited  wood- 
cut of  the  chase — perhaps  inherited  or  bought  up  from  the  earlier 
illustrated  edition. 

The  text  of  the  song  is  decidedly  'literary,'  modeled  on  one  or 
another  of  a  number  of  English  hunting  songs.  Shall  we  accept 
the  local  legend  and  believe  that  someone  in  Watauga  county  did 
take  part  in,  or  perhaps  only  hear  about,  such  a  hunt,  wrote  the 
poem,  set  it  to  music,  and  afterwards  sent  it  to  Philadelphia  and 
had  it  published  ?  Or  shall  we  think  that  the  printed  song,  coming 
to  be  known  in  Ashe  and  Watagua  counties,  suggested — from  the 
cue  of  the  name  of  the  former  of  these  counties — the  local  legend? 
The  editor  does  not  know.  There  are  precedents  for  both  procedures. 

'The  Wild  Ashe  Deer.'  Communicated  in  1922  by  Mrs.  N.  T.  Byers  of 
Zionville,  Watauga  county.     With  the  music. 

1  Away  and  away  we're  bound  o'er  the  moimtain,  over  the 

mountain,  over  the  mountain. 
Over  the  valley,  the  hill,  and  the  fountain,  away  to  the 

chase,  away,  away ! 
We  heed  not  the  tempest,  the  wild  winds  of  dans^^er,  hut 

joyously  shouting  away  goes  the  ranger. 
Joyously   shouting   away   goes   the    ranger,   awav   to    the 

chase,  away,  away ! 

2  Away  and  away  our  wild  steeds  are  bounding,  oiu-  wild 

steeds  are  bounding,  our  wild  steeds  are  hounding, 
Throttgh  brake  and  through  valley  our  shouts  are  resound- 
ing, away  to  the  chase,  away,  away ! 
Listen  to  the  hound  bells  sweetly  ringing,^  over  the  hill 

^  So   the   manuscript,   implying   that   the   hounds    wore   bells ;    but    the 
meaning    clearly    is    that    the    baying    of    the    hounds    makes    music,    as 
Theseus's  did  for  Hippolyta.    Johnson's  text  has  a  better  reading : 
List  to  the  hounds,  bells  sweetly  ringing. 


252  X  fi  K  T  II     C  A  K  0  L  I  X  A     FOLKLORE 

the  wild  deer  is  springing. 
Over   the   hill  the   wild  deer   is   springing;   away   to   the 
chase,  away,  away ! 

3     See   there   the   wild   deer,   trenihling.   panting,   trembling. 

panting,  trembling,  panting, 
l-'earfully    poising,    one    nn)ment    standing:    oti    then    he 

speeds,  away,  awaw 
He's  gone.  boys,  he's  gone !     Pursue  him.   pursue   him ! 

Hurrah,  boys,  hurrah  !     I  see  him  !     I  see  him  ! 
Hurrah,  boys,  hurrah!     I  see  him!     I  see  him!     Away  to 

the  death  of  the  Wild  Ashe  Deer ! 

220 

Old  Blue 

For  the  affiliations  of  this  song,  see  White's  headnote  to  his 
Alabama  text  (ANFS  207)  and  add  to  the  references  there  given 
Mississippi  (JAFL  xxxix  177,  FSM  201-2),  Arkansas  (OFS  11 
382-3).  and  Texas  (OSC  111-12).  The  Alabama  text  lacks  the 
homely  particularity  of  our  stanzas  3  and  6.  For  the  chain  used 
in  the  burial,  commonly  a  silver  spade  and  a  golden  chain  and  asso- 
ciated with  the  burial  of  persons,  not  dogs,  see  JAFL  xi  22.  NWS 
129  and  198,  and  'Down  by  die  Weeping  Willow  Tree'  in  this 
volume.  Our  text  is  not  strictly  speaking  from  North  Carolina, 
being  described  by  the  contributor  as  "heard  in  the  Mississippi 
valley  in  West  Tennessee."  but  is  included  here  for  good  measure. 

'I  Had  a  Dog  and  His  Name  Was  Blue.'     Contributed  by  M.  R.  Cham- 
bers as  heard  in  West  Tennessee.     Not  dated. 

1  I  had  a  dog  and  his  name  was  Blue. 

Just  listen  and  I'll  tell  you  what  that  dog  would  do. 

Chorus: 

Here.  Blue,  you  rounder  you! 
Here.  Blue,  you  rounder  you! 

2  One  morning,  whilst  he  was  out  with  me. 
He  treed  a  possum  up  a  white  oak  tree. 

3  1  took  niv  ax  and  1  cut  him  down 

.\nd  put  sweet  taters  all  around  his  ham. 

4  (i«jt  up  next  morning;  lUue  was  sick. 

I  sent  for  the  doctor  to  come  here  c|uick. 

5  Tlu'  doctor  come,  he  come  in  a  run, 

And  he  says,  '(  )ld  lUue.  yom-  hunting  is  done.' 

6  (  )ld   lUue  died;  and  he  (\\v(\  so  hard 

Jle  dug  little  holes  all  around  in  the  vard. 


w  (>  K  K    s  ()  N  i;  s  253 

7     I  dug  his  grave  in  a  shady  place. 

I  ki\ered  it  over  with  a  possum  face. 

S      1  let  him  down  with  a  golden  chain; 
\\  ilh  every  link   I  caUed  his  name. 

9     ( )kl  Ijkie's  dead,  and  he's  gone  to  rest. 
He  was  jus"  a  dog.  l)ut  he  done  his  hest. 

10     When  1  gets  to  heaven,  I  know  what  I'U  (h) ; 
I'll  gral)  mv  horn,  and  I'll  hk)w  for  lUue. 

221 

The  Ground  Hog 

This  is  peculiarly  a  song  of  the  southern  Appalachians.  Although 
the  habitat  of  the  creature  (known  also  as  whistlei)ig,  and  in  the 
Northern  states  as  woodchuck  )  reaches  from  Canada  well  towards 
the  Gulf  of  Mexico,  he  is  the  subject  of  popular  song  only  in  the 
southern  Appalachians;  the  song  is  known  in  Virginia  (FSV^  246), 
West  Virginia  (FSS  498),  Kentucky  (Shearin  38,  LT  30-3),  North 
Carolina  '(SSSA  5-6,  FSSH  388,1  3^0.2,  JAFL  xlv  iS4-5,^  i^v6. 
BMFSB  38-9),  Georgia  (FSSH  389),  and  less  definitely  the  Soudi- 
ern  mountains  (AMS  92-3).  Its  appearance  in  the  Ozarks  (OFS 
III  150-3)  is  doubtless  due  to  immigration  from  Kentucky.  It  has 
not  been  found  in  the  Northern  states,  nor  is  it  a  Negro  song — 
White  reports  only  a  two-line  fragment  from  Tennessee  Negroes 
(ANFS  160).  Apparently  it  originated  in  the  frontier  life  of  the 
South,  probably  in  the  early  nineteenth  or  possibly  in  the  later 
eighteenth  century.  Besides  the  texts  here  given  the  Collection  has 
two  recordings  of  it:  one  from  Obadiah  Johnson.  Crossnore,  Avery 
county,  in  1940.  and  one  from  Bonnie  Wiseman,  Hinson's  Creek. 
Avery  county,  in  1939. 

A 

'Ground  Hog.'  Contributed  by  Miss  Clara  Hearne  from  Pittsboro,  Cbat- 
bam  county,  some  time  in  1922-23.  The  first  line  of  eacb  stanza  is  sung 
twice,  making  witli  tbe  refrain  a  stanza  of  four  lines,  as  printed  bere 
for  stanza  i. 

1  Whet  up  your  knife  and  whistle  up  your  dog. 
Whet  up  your  knife  and  whistle  up  your  dog. 
We're  going  to  the  hills  to  hunt  a  ground  hog. 
Whack  fal  doodle  all  day. 

2  Too  many  rocks,  too  many  logs. 
Too  manv  rocks  to  hunt  ground  hogs. 

3  Over  the  hills  and  through  the  hrush. 
There  we  struck  that  hog's  sign  fre.sh. 

*  This  text  Henry  obtained  in  New  Jersey,  but  it  was  learned  in  North 
Carolina. 


254  NORTH  CAROLINA  FOLKLORE 

4  Up  came  Berry  with  a  ten  toot  pole 
And  roused  it  in  that  ground  hog's  hole. 

5  Up  came  Kate  and  stood  right  there 

Till  Berry  twisted  out  some  ground  hog's  hair. 

6  Kate  and  Berry  kept  prizing  ahout ; 
At  last  they  got  that  ground  hog  out. 

7  Took  him  to'  the  tail  and  wagged  him  to  a  log 
And  swore,  hy  grah,  it's  a  pretty  fine  hog. 

8  Meat  in  the  cupboard,  hide  on  the  churn; 
That  was  a  ground  hog,  I'll  be  durn ! 

9  Work.  boys.  work,  as  h.ard  as  you  can  tear. 
The  meat '11  do  to  eat  and  the  hide'll  do  to  wear. 

10  \\  ork.  boys,  work  for  all  you'll  earn. 

Skin  him  after  night  and  tan  him  in  a  churn. 

1 1  They  put  him  in  a  pot  and  the  children  began  to  smile ; 
They  ate  that  ground  hog  before  it  struck  a  boil. 

12  Up  stepped  Susie  with  a  snigger  and  a  grin. 
Ground  hog  grease  all  over  her  chin. 


'Ground  Hog.'  Received  from  J.  T.  C.  Wright  of  the  .\ppalachiaii 
Teachers  College,  Boone,  Watauga  county,  in  1922.  Four-Hne  stanzas 
as  in  A. 

1  I  shouldered  up  my  gun  and  I  wiiistled  to  my  dog. 

I  shouldered  up  my  gun  and  I  whistled  to  my  dog ; 
Ise  gwine  up  the  mountain  for  to  catch  a  groundhog. 
Law,  man,  law ! 

2  I  treed  him  in  the  mountain  and  I  treed  him  in  a  log, 
I  treed  him  in  a  holler  and  1  treed  him  with  my  dog. 

3  I  cut  a  long  pole  for  to  twist  him  out. 

Great  God  a'mighty,  what  a  groundhog  stout ! 

4  God  a'mighty,  man,  just  look  at  Jim! 
Groundhog  gravy  all  over  his  chin. 

5  Run  here,  mama,  and  run  here  quick. 
This  old  groundhog  has  made  me  sick. 

6  Run  here,  doctor,  run  here  quick. 
This  old  groundhog  has  made  me  sick. 

'  So  in  the  manuscript ;  a  slip  of  the  pen,  apparently,  for  "by." 


w  ()  K  K    s  ()  N  c;  s  255 

7     Ise  iiebber  j^wiiK'  to  cut  groundhog  ii<»  more, 
For  it  1  do  Isf  ;i  dead  man  shore. 


'The  Gruuii'  Hog."  Reported  liy  Mrs.  Sutton,  prol)al)ly  in  i<>2(),  witli 
the  comment:  "'I'lie  song  is  a  sort  of  hunting  tune,  and  the  loud 
'whoopees'  in  it  are  most  effective  when  it's  sung  as  a  ehorus.  ...  It 
is  very  popular,  especially   with  the  kiddies." 

1  Whet  up  yer  knife  and  whistle  up  yer  dog. 
We're  ofi  to  the  woods  fur  to  ketch  a  groun'  hcjg. 

Chorus: 

Whoopee,  whoopee,  doodle  dal  day, 
Whoopy  doo  doodle  doo  dal  day. 

2  Cut  and  trim  a  long  slim  pole. 
Twis'  ole  groun'  hog  out'n  his  hole. 

3  I'ut  that  hog  in  a  big  tow  sack. 
Bring  him  home  swung  down  my  back. 

4  Skin  that  groun'  hog  and  tan  his  hide, 
Put  my  baby  gal  safe  inside. 

Mrs.  Sutton  also  reports  the  following  stanza  as  a  "hanjo  tune,"  ob- 
tained from  Reems  Creek,  Buncoinbe  county.  The  tune  was  taken  down 
by  Miss  \'ivian  Blackstock. 


Whet  u\)  your  knives,  call  up  your  dogs, 
Go  to  the  woods,  catch  a  ground  hog. 
Meat's  good  to  eat,  hide's  good  to  wear. 
Rang  tang  a  f  odalink  a  day ! 


222 

I'll  Fire  Dis  Trip 

Though  not  strictly  from  North  Carolina,  this  item  is  so  inter- 
esting as  a  relic  of  steamboating  on  Southern  (it  seems  to  be  in 
Negro  speech  )  rivers  that  it  is  here  included. 

'Boating  Song.'  Reported  by  Mrs.  C.  C.  Murphy  of  Ivanhoe,  Sampson 
county,  as  obtained  from  Mrs.  J.  N.  Corbett,  who  knew  it  as  sung  on 
Flint  River,  Georgia. 

1  I'll  hre  dis  trip  an'  I'll  tire  no  mo' 

Fire  down  below  ! 
I'll  fire  dis  trip  an'  I'll  fire  no  mo' 
Fire  down  below  ! 

2  Miss  Nancy  Belle,  1  wi^ll  you  well 

Fire  down  below  ! 

X.C.F..  Vol.   Ill,   (f)) 


256  NORTH     CAROLINA     FOLKLORE 

!Miss  Xancy  Belle,   I   wish  you  well 
l-'ire  down  below  ! 

3     De  bullies'  boy  is  Uncle  Gable 
Vive  down  below ! 
Bring  on  dat  wood  while  you  he's  able ! 
Fire  down  below ! 


223 

Hi  Yo  Boat  Row 

This  is  a  broken  memory  of  one  of  Dan  Emmett's  early  (copy- 
right 1843)  successes  on  the  minstrel  stage,  'De  Boatmen's  Dance' 
(No.  32  in  S.  Foster  Damon's  Series  of  Old  American  Songs). 
Davis  lists  it  from  Virginia  (FSV  249)  and  Perrow  reports  a  form 
of  it  as  sung  by  Negroes  in  Kentucky  (JAFL  xxviii  143). 

'Hi  Yo  Boat  Row.'     Reported  in  1913  by  Charles  R.  Bagley  of  Moyock, 
Currituck  county,  as  learned  from  his  grandfather  there. 

1  Hi  yo,  boat  row. 

Hoy,  down  river  on  old  Ohio. 
Boatman  dance  and  boatman  sing. 
Boatman  do  most  anything. 

2  Hi  yo,  boatman  cow,^ 

Stole  my  pit^  and  stole  your  shoat, 

Run  down  the  river  and  jnit  him  in  the  boat. 


224 

We  Live  on  the  Banks  of  the  Ohio 

Although  this  has  not  been  found  elsewhere,  it  may  be  assumed 
to  come  from  the  age  of  plantation  melodies,  in  which,  as  Dr.  White 
has  pointed  out,  "the  masters  are  kindly  to  an  almost  suspicious 
degree.  .  .  .  Beyond  doubt,  the  Negro  minstrel  song  .  .  .  was  com- 
monly used  as  an  instrument  of  propaganda  against  the  interests  of 
the  Negro  himself"  (ANFS  10). 

No  title.     Set  down  by  K.   P.   Lewis   frcnii   the   singing   in   iqio  of   Dr. 
Kemp  P.  Battle  of  Chapel  Hill. 

I      We  live  on  the  banks  of  the  ( )-hi-o 
O-hi-o,  Odii-o, 

Where  the  mighty  waters  rapidly  flow 
And  the  steamboat  sweeps  along. 

'  One  supposes  that  "cow"  is  niiswritten  for  "row"  and  "pit"  for  "pig," 
and  that  tlie  omission  of  the  second  line  of  the  refrain  in  this  stanza  is 
morclv  actidcntal. 


W   O  K  K      SONGS  257 

Clioriis: 

We  live  on  tlic  banks  of  the  O-hi-o, 
O-hi-o,  O-hi-o, 

We  live  on  the  banks  of  the  ( )-hi-o, 
( )n  the  banks  of  the  ( )-hi-o. 

2  (  )k'  niassa  to  liis  darkies  is  good, 
Tra-H-la-la.  tra-li-la-la. 

He  gives  us  our  clothes,  he  gives  us  our  food. 
And  we  merrily  work  all  day. 

3  Droop  not,  darkies,  as  you  go, 
Tra-li-la-la.  tra-li-la-la, 

Back  to  the  banks  of  the  O-hi-o, 
The  river  we  love  so  well. 


225 
A  Boat,  a  Boat,  Across  the  Ferry 

This  round  is  s^iven,  with  no  indication  of  source,  in  F.SSC  viii 
141. 

'A  Boat,  a  Boat,  Across  the  Ferry.'  Reported  by  K.  P.  Lewis  of  Dur- 
ham as  obtained  {probably  in  lyio)  from  Dr.  Kemp  P.  Battle  of  Cliapel 
Hill. 

A  boat,  a  boat  across  the  ferry, 
For  we  are  going  to  be  merry. 
To  laugh  and  quaff  and  drink  old  sherry. 

226 

Haul,  Haul,  Haul,  Boys 

This  is  listed  in  the  manuscript  as  a  "fishing  song,"  that  is, 
presumably,  a  song  sung  as  fishermen  pulled  in  their  nets.  In  word- 
ing it  is  close  to  the  bowline  chanty  'Haul  away.  Jo'  (Whall,  Sea 
Songs  and  Shanties,  p.  85;  Shay,  Iron  Men  and  Wooden  Ships,  p. 
92),  and  probably  it  is  merely  an  adaptation  of  that  chantey  to  the 
fisherman's  trade. 

'Fishing  Song.'  Contributed  by  Miss  Emma  Bobbitt,  Bayboro,  Pamlico 
county. 

Haul,  haul,  haul,  boys,  haul  and  be  lively. 
Haul,  oh  haul.  boys.  haul. 

She  will  come,  she  must  come ;  haul,  boys,  haul. 
She  will  come,  she  must  come ;  haul,  boys,  haul. 
Well,  it  seems  to  me  like  the  time  ain't  long; 
Haul  and  be  lively,  haul,  boys,  haul. 


258  NORTH     CAROLINA     I"  O  L  K  L  O  R  P: 

227 

Old  Horse.  Old  Horse 

The  sailor's  protest  against  his  rations  of  salt  horse  is  known 
in  Maine  (MAI  223-6,  SBML  104-5),  Massachusetts  (FSONE 
142-4).  and  "by  men  aboard  American  sailing  ships,  also  ...  by 
white  men  along  the  Gulf"  (  P^B  62-3);  very  likely  it  was  known 
to  all  sailor  men  in  the  old  windjammer  days.  It  is  quite  distinct 
from  the  homiletic  'Poor  Old  Horse,'  which  is  a  landsman's  song. 

'Old  Horse,  Old  Horse.'     Reported,  probably  in  1927.  by  Julian  P.  l')oyd 
as  obtained  from  Duval  Scott,  a  pupil  in  the  school  at  Alliance,  Pamlico 

county. 

'Old  horse,  old  horse,  how  come  you  here?' 

'From  southern  shores  to  Portland's  piers 

I've  carted  stone  for  piles  of  years, 

Till,  killed  by  work  and  sore  abuse, 

They  salted  me  down  for  sailors'  use. 

The  sailors  they  did  me  despise. 

They  knocked  me  down,  and  damned  my  eyes. 

Pulled  off  my  meat  and  picked  my  bones 

And  threw  the  rest  to  Davy  Jones.' 

228 
b^oR  .Six  Days  Do  All  That  Thou  Art  .Able 

Grousing  of  sailors  at  having  to  work  on  Sunday.  A  Negro 
spiritual  of  like  content — though  it  has  nothing  to  do  with  sailors — 
'That  Ain't  Right.'  is  reported  from  Tennessee  (JAFL  xxvii  262), 
Alabama  (JAFL  xliii  323).  and  as  sung  at  a  Negro  meeting  in 
St.  Louis  by  Jubilee  singers   (JAFL  xxxv  331). 

'For    Six    Days."      Rep<jrted    by   Julian    P.    Boyd    in    1927   as   known    by 
Duval  Scott,  a  pupil  in  the  school  at  Alliance,  Pamlico  county. 

For  six  days  do  all  that  thou  art  able  ; 

The  seventh,  wash  the  decks  and  scrape  the  cable. 

Never  let  the  .Sabbath  interfere ; 

We  would  lose  fifty-two  days  in  a  year. 

If  we  were  to  take  .Sundav  as  a  Holy  day^ 

We  could  never  do  what  we  may. 

Never  let  the  Sabbath  interfere ; 

We  would  lose  fifty-two  days  in  the  year. 

'  So  in  the  manuscript — perhaps  in  consciousness  of  tlie  origin  of  tlie 
word  "holiday." 


W  <)  R  K      SON  C.  S  259 

229 

Ali'habet  of  Till';  Siiir 

Followers  of  certain  calliiitis  have  worked  out  alphabet  songs 
based  on  their  occupations.  Best  known  probably  is  the  woodman's 
alphabet,  reported  from  Nova  Scotia  (.SBNS  212-13),  Maine  (MM 
30-2.  .SHMi.  10-14.  MWS  50-1  ),  New  Hampshire  (VSONE  235-7). 
Vermont  (NClMS  169),  and  Michigan  (JAFL  xxxv  413-14).  The 
sailor's  ali)habet  is  known  in  Nova  Scotia  (SBNS  210-12),  Maine 
(MiM  233-4),  and  the  Bahamas  (JAFL  xxxviii  298),  as  well  as  in 
North  Carolina.  The  Conchs  of  Florida  (SFLQ  iv  150)  have  a 
bil)]ical  al])lial)et — Adam.  "Bay-lim."  Cain.  etc. 

'Alphabet    (jf    the    Ship."      From    J.    1!.    Midgett    uf    Wanchese.    Roanoke 
Island,  in   iij20. 

A  is  the  anchor,  and  that  we  all  know, 

B  i.s  the  bowsprit  luiiig  over  the  bow, 

C  is  the  capsin  we  often  rowiiy,^ 

D  is  the  deck  where  the  sailors  are  found, 

E  is  the  ensign  of  otir  niisin  peak  flue, 

l*"  is  the  forecastle — now  where  is  the  crew  ? 

Cj  is  the  gun  by  which  we  all  stand. 

H  is  the  hauser  which  never  will  strand, 

i  is  the  iron  on  our  stintion  boom  ship, 

J  is  the  job  which  makes  a  good  fit, 

K   is  the  kilson  all  down  in  the  hole,' 

L  is  the  lanyard  that  has  a  strong  hold. 

M  is  the  mizmast  big  stout  and  strong. 

N  is  the  needle  that  never  goes  wrong, 

O  is  the  oar  that  lies  in  our  boat, 

P  is  the  pennant  wherever  she  floats, 

Q  is  the  (piarterdeck  on  which  our  captain  stood. 

R  is  the  rigging  which  served  so  good, 

.S  is  the  stiltarts^  which  weighed  out  the  beef, 

T  is  the  topsail  so  (jften  we  reef. 

I'  is  the  union  by  which  we  adore. 

\    is  the  Virgin  we  fly  to  our  our,' 

\\   is  the  wheel  wdiich  we  will  all  take  otn-  time. 

And  the  other  letters  will  soon  come  in  rhvme. 

X  is  our  ship,  it  has  no  place, 

Y  is  the  yardarm  which  are  very  well  placed, 

Z  is  the  zinc  on  our  bottom  we  know ; 

When  the  captain  calls  'Cirog,  boys,'  we  will  all  go  below. 

'"Capsin"  is  for  "capstan."  of  course,  and  "stiltarts  (S)  for  "steel- 
yards." The  rhyme  suggests  that  "rowny"  should  be  "round,"  and  "hole" 
(K)  should  prohaI)ly  be  "hold."  The  editor  has  no  interpretation  to 
offer  for  the  I  and  \'  lines. 


260  NORTH   CAROLINA  FOLKLORE 

Chorus  (siDig  after  C7'cry  four  letters): 
So  merry,  so  merry,  so  merry  are  we, 
No  mortal  on  earth  like  a  sailor  at  sea. 
I  dearie  1  dearie  I  dearie  I  down. 
Give  a  sailor  his  grog  and  then  nothing  goes  wrong. 

230 

Whip  Jamboree 

Sharp  (JFSS  v  297-8)  reports  two  texts  and  tunes  of  this  chanty, 
one  of  them  from  an  Irish- American  sailor.  Miss  Broadwood  in 
an  appended  note  thinks  that  it  may  he  of  Negro  origin. 

'Whip  Jambree.'  Communicated,  apparently  at  some  time  in  the  years 
1913-19,  by  the  Rev.  L.  D.  Hayman  of  Elizabeth  City,  Pasquotank  county, 
whose  father  and  grandfatlier  were  sea  captains.  He  says  the  song 
"was  popular  among  the  drinking  class  of  men.  Great  crowds  of  men 
uouki  gather  at  some  favorite  place  on  Sunday  and  spend  the  day  in 
chinking,  and  this  song  was  one  of  their  selections.  Sometimes  they 
would  ride  up  and  down  the  roads  and  sing  to  the  amusement  of  the 
cabin-dwellers  and  others." 

1  Oh,  the  captain  came  on  deck 
A-scratching  of  his  head, 
Says,  'Hello,  my  jolly  boys, 
The  valler  hoat's  ahead.' 

Chorus: 

W'hij)  jambree,  whip  jambree, 
Get  ui),  old  boss. 

2  Ca])tain's  in  the  pilot-botise 
A-drinking  of  his  gin ; 

And  he's  just  as  near  to  heaven 
As  he'll  ever  be  agin. 

There  is  in  the  Collection  a  fragment  of  this  .song  in  Dr.  Brown's  hand, 
labeled  "Chantey."  No  source  indicated.  It  is  the  second  stanza  of  Hay- 
man's  version  except  that  the  first  line  is  the  first  line  of  Hayman's  fir.st 
stanza. 

231 

I  Have  a  1'^ather  in  My  Native  Land 

Til  is  has  not  been  reported  as  folk  song  or  as  chanty  elsewhere. 

'A  Sailor's  Chanty.'  From  Miss  Jewell  Robbins  of  Pekin,  Montgomery 
county  (later  Mrs.  C.  P.  Perdue),  about  1921-24.  It  is  hardly  a  chanty; 
at  least  it  is  n^t  in  the  spirit  of  chanty-singing. 

I      1  have  a  father  in  my  native  land, 

(  )h,  he's  looking  for  me  tonight,  night,  night, 
(  )h,  he's  looking  for  me  tonight. 


WORK     SONGS 


261 


2  He  may  look,  he  may  Idok  with  liis  withering  watery  eyes, 
And  it's  oh.  he  may  look  to  tlie  Ixittom  of  the  sea,  sea,  sea, 
Oh,  he  may  look  to  the  hottom  of  the  sea. 

232 

Sal's  in  the  CiArden  Sifting  Sand 

This  is  perhaps  only  a  form  of  the  chanty  "Row  the  Boat  Ashore.' 
At  least  it  has  the  "hog-eyed  man"  in  common  with  that  song.  It 
is  known  also  in  Kentucky  ( Shearin  38,  SharpK  11  360)  and  Wis- 
consin (JAFL  Lii  49-50,  from  Kentucky),  and  Sandhurg  reports 
it  from  an  old  sailor  (ASb  410-11).  For  the  meaning,  or  mean- 
ings, of  "hog-eye"  see  the  headnote  to  "Row  the  Boat  Ashore.' 

'Sal's  ill  the  Garden  Sifting  Sand.'  Reported  by  Charles  R.  Bagley  as 
"heard  from  his  grandparents,  Air.  and  Mrs.  W.  R.  Dudley,  in  Moyock." 
Moyock  is  in  Currituck  county.  The  same  two  lines  are  rept^rted  also 
by  Miss  Minnie  Bryan  Farrior  from  Duplin  county. 

Sal's  in  the  garden  sifting  sand. 
All  she  wanted  was  a  hog-eyed  man. 

233 

The  Heathen  Chinese 

This  suggests  Bret  Harte's  famous  song,  but  is  instead  an  echo 
of  the  resentment  of  the  wdiites  at  the  encroachment  of  Chinese 
cheap  labor  which  led  to  the  passage  of  the  Chinese  exclusion  act. 
The  only  mention  of  it  that  I  have  found  elsewhere  is  that  there  is 
a  record  of  it  in  the  Archive  of  American  Folk  Song:  and  this 
record  is  from  the  singing  of  tlie  same  man  who  furnished  the  text 
in  our  collection. 

'Heathen  Chinese.'  Obtained  in  1936  from  ().  L.  Coffey  of  Shull's  Mills, 
Watauga  county. 

I      I've  a  very  sad  pitiful  story  to  tell  you, 
Although  it's  a  common  one  too ; 
A  story  of  sorrow,  a  story  of  hunger, 
Because  w^e've  no  work  to  do. 
In  the  country  as  well  as  the  city 
There  are  thousands  who  would  like  a  sijuare  meal. 
But  alas  !  there  is  no  work  for  a  white  man  to  do ; 
They're  hiring  the  Heathen  Chinese. 

Chorus: 

Oh,  a  thing  that  you'll  find  in  the  kitchen. 
In  the  laundry  a  singing  Hoh  Lee; 
On  the  railroads,  the  roundhouse,  the  ranches. 
They're  hiring  the  Heathen  Chinese. 


262  N  0  R  T  11      C  A  K  0  L  I  N  A      F  0  L  K  L  0  R  E 

2  I've  four  little  sisters  at  home  to  provide  for. 
They  are  hungry  now.  crying  for  bread ; 

Poor  mother  is  sick  and  the  rents  are  now  due, 

No  money  to  buy  coal  or  wood. 

As  I  walk  round  the  streets  of  your  city 

In  searching  for  employment  and  bread ; 

But  alas !  there's  no  work  for  a  white  man  to  do, 

They're  hiring  the  Chinese  instead. 

3  Come  join  hands  with  the  bold  Knights  of  Labor ; 
We  will  battle  through  fire  and  blood 

To  get  rid  of  this  leper,  the  curse  of  our  country. 
The  vampires  that  are  sucking  our  blood. 
Then  a  white  man  we'll  put  in  the  kitchen. 
In  the  laundry  poor  widows  there'll  be  ; 
On  the  railroads,  the  roundhouse,  the  ranches, 
W'e'll  fire  out  the  Heathen  Chinese. 

4  I  will  swear  b}'  my  wife  and  my  children. 
From  the  mountains  all  down  to  the  sea  ; 

I'll  join  hands  with  the  bold  Knights  of  Labor 
To  help  fire  out  the  Heathen  Chinese. 

234 

\\'ORKING  OX   THE  RaILROAD 

The  first  stanza  of  A  is  very  widely  known  but  not  often  reported 
as  folk  song.  Its  origin  I  have  not  discovered.  Apart  from  this 
stanza,  texts  are  generally  fragmentary  and  inconsequent — though 
not  often  so  mere  a  medley  as  our  A.  It  has  been  reported  from 
Georgia  (SSSA  8ij,  Mississippi  (TNFS  248),  and  Alabama 
(ANFS  274,  but  coming  from  Louisiana).  Dr.  White  notes  that 
it  was  "popular  as  a  college  quartet  in  the  early  1900s." 

A 

'I've  Been  Working  on  the  Railroad.'  Contrilnited  by  Miss  Doris  Over- 
ton. Durham  (later  Mrs.  Brim),  in  1922.  Made  up,  after  the  first 
stanza,  of  fragments  of  popular  songs.  For  the  stanza  division — often 
uncertain — tlie  editor  is  responsible. 

1  I've  been  workin'  on  de  railroad 
All  de  livelong  day, 

I've  been  workin'  on  de  railroad 
Jus'  to  pass  de  time  away. 

2  Don't  vou  hear  de  whi.stU-  blowin'? 
Rise  up  so  early  in  de  morn. 
Don't  you  hear  de  Ca])tain  shoutin'? 
Dina.  blow  vour  horn  ! 


\V  ()  K   K      SON  C.  S  263 

3  Dina.  won't  vou  go,  Dina,  won't  you  go 
Down  on  the  banks  of  the  ( )hio? 

Dina,  won't  you  go,  Dina,  won't  you  go 
Down  on  the  Ohio? 

4  SHde.  Kelly,  slide  ! 
Casey's  at  the  bat. 

5  Down  went  Maginty. 

6  Oh.  where'd  you  get  that  hat? 

7  In  the  evening  by  the  moonlight 
You  can  hear  those  darkies  singing 
Little  Annie  Rooney  is  my  sweetheart. 

8  Don't  you  hear  dem  bells,  ding,  ding. 
Don't  you  hear  dem  bells? 

Dey  are  ringin'  out  de  glory  of  de  land. 

B 

'Workin'  on  the  Railroad  Forty  Cents  a  Day.'  Reported,  apparently 
some  time  in  1921-22,  by  Miss  Eura  Mangum  of  Durham.  The  manu- 
script bears  the  notation :  "I  can  get  the  rest  of  this  song  and  tlie  air  in 
a  few  days" — but  she  seems  not  to  have  done  so. 

Workin'  on  the  railroad 

Forty  cents  a  day. 

johnny  come  pickin'  on  the  banjo  ! 

Oh  !  Me  !  Oh  !  My  ! 

Don't  you  hear  the  baby  cry  ? 


"Working  on  the  Railroad.'  Contributed  by  Walter  J.  Miller,  student 
at  Trinity  College  in  1919,  as  a  fragment  of  a  Negro  work  song.  With 
the  tune. 

Working  on  the  railroad  at  forty  cents  a  day. 

If  you  don't  work  your  time  out,  you  don't  get  your  pay. 

Working  on  the  railroad  at  forty  cents  a  day  ; 

You  can  make  more  money  a-working  in  the  hay. 

235 
The  Little  Red  Caboose  Behind  the  Tr.aix 

The  only  other  report  that  T  have  found  of  this  railroad  man's 
song  is  in  the  checklist  of  the  Archive  of  .American  \'\>\k  ."^ong-, 
which  reports  a  record  of  it  made  in  California. 

'Little  Red  Caboose  Behind  the  Train.'  From  the  John  Burcli  Blaylock 
Collection. 


264  NORTH  CAROLINA  FOLKLORE 

1  Now  I  am  a  jolly  railroad  man  and  braking  is  my  trade; 
I  work  upon  the  road  both  day  and  night, 

Turning  switches,  and  making  flies,  as  along  the  road  we 

And  see  thai  all  the  train  is  made  up  right. 

^Ve  are  always  ready  when  we  are  called  to  go. 

It's  whether  in  the  sunshine  or  the  rain. 

And  a  jolly  crew  you'll  always  find  if  you  will  go  and  see 

In  the  little  red  caboose  behind  the  train. 

Chorus: 

Then  here's  luck  to  all  the  boys  that  will  ride  upon  the 

cars, 
May  happiness  to  them  always  remain  ; 
The  angels,   they  will   watch  o'er  them   when   they   lie 

down  to  sleep 
In  that  little  red  caboose  behind  the  train. 

2  We  hang  a  red  light  on  each  side,  another  on  behind, 
As  the  day  goes  by  and  night  comes  stealing  on. 

And  the  boy  that  rides  ahead,  you  bet,  he  keeps  it  in  his 

mind 
That  all  the  train  is  coming  along. 
And  when  we're  near  the  station,  we're  startled  from  our 

thoughts 
By  the  sound  of  the  whistle's  piercing  scream  ; 
We  skin  out  on  the  hurricane  deck  while  the  curve  winds 

up  the  wheel 
Of  the  little  red  caboose  behind  the  train. 

236 

Reuben's  Train 

R.  W.  Gordon,  Nczv  York  Times  Magazine,  January  i,  1928, 
prints  a  mountain  banjo  song,  'Old  Reuben,'  with  stanzas  cor- 
responding to  stanzas  i  and  2  of  B  and  agreeing  on  Reuben's  fond- 
ness for  licjuor  and  his  consequent  difticulties  as  a  railroad  man. 
And  R.  D.  Bass,  JAFL  xliv  431,  prints  a  stanza  as  sung  by  Negroes 
in  South  Carolina  in  1905. 


'Reuben's  Train.'  Coninninicatcd  I)y  Arthur  Moore,  Lenoir,  Caldwell 
county.  With  the  tune.  Tliere  is  also  a  recording  of  it  from  the  sing- 
ing of  Mrs.  Manassa  Wiseman  of  Avery  county,  but  I  have  not  seen 
her  text. 

I      ^'ou  (JUght  to  be  in  town 

W  hen  Reuben's  train  went  down  ; 

\i)\\  could  hear  the  whistle  blow  a  hundred  miles. 


\V  ()  K  K     SONGS  265 

Chorus: 

A  luiiidrt'd  miles,  a  luuulrcd  miles. 

A  hundred  miles  from  my  home. 

\\)u  could  hear  the  whistle  hlow  a  hundred  miles. 

2  Old  Keuhen  made  a  train 
And  he  ])ut  it  on  the  track. 

For  1  heard  the  whistle  hlow  a  hundred  mile.s. 

3  The  train  is  off  the  track 
And  1  can't  "et  it  hack. 

And  I'll  sidetrack  mv  train  and  yo  home. 

B 

'Old  Rcul)en.'  Obtained  from  Cousor,  Bishopvillo,  South  Carolina. 

1  Ole  Reuhen.  he  got  drunk 

An'  he  pawned  his  watch  and  trunk. 

O  Reuh.  Reu-eu-euhen, 

Dat  you.  Reuhen  ?  I  doan  know. 

2  When  you  hear  dat  whistle  hlow,  l)low'. 
( )ne  hundred  miles  helow, 

O  Reuh,  Reu-eu-euhen. 

Dat  you,  Reuhen?  1  doan  know. 

3  Ole  Reuhen  went  to  town 

An'  he  drank  that  licker  down. 

O  Reuh.  Reu-eu-euben, 

Dat  you,  Reuben?  I  dt)an  know. 

4  Den  for  she  you'll  know- 
Old  Reuben's  gone  to  Mexico. 
O  Reub,  Reu-eu-euben, 

Dat  you,  Reuben?  I  doan  know. 

5  Ole  Reuben  made  a  train 
An'  he  put  it  on  de  track. 
O  you  Reuben-eu-Reuben. 

Dat  you.  Reuben  ?  I  doan  know. 

6  Oh,  Reuben  had  a  train. 

It  run  from  Boston  to  Maine. 

Hear  dat  whistle  blow  one  hundred  miles  below, 

O  Reub-Reu-eu-euhen. 

7  An'  ole  Reuben  wrecked  dc  train. 
An"  he  never  did  get  back. 

( )  Reub.  Reu-eu-euben, 

Dat  you,  Reuben?  I  doan  know. 


266         north  carolina  folklore 

If  the  Seaboard  Train  Wrecks  1  Got  a  Mule  to  Ride 

This  fragment  is  a  rather  incongruous  combination  of  a  vivid 
bit  of  a  spiritual  and  a  couplet  from  a  railroad  song.  For  the  for- 
mer see  ANFS  "j},  and  the  references  there  given  and  add  Tennessee 
(JAFL  XXVII  261),  South  Carolina  (JAFL  xxvii  251),  and  Work's 
American  Xcgro  Songs  (1940  edition)  iii  antl  133.  For  the  latter 
see  ANFS  306-7  and  354. 

'If  the  Seaboard  Train  Wrecks  I  Got  a  Mule  to  Ride.'     Obtained  from 
a  Duke  University  student,  Fairley.     No  date  on  the  manuscript. 

1  Yoii  better  mind,  sister,  how  yuii  step  on  the  cross. 
Your  right  toot  will  slip  and  your  soul  will  be  lost. 

2  If  that  Seaboard  train  don't  wreck  on  the  road, 
I'm  Alabama  bound,  Alabama  bound. 

238 
Seaboard  Air  Line 
A  fragment  of  railroad  song.     Not  found  elsewhere. 

'Seaboard  Air  Line.'     Contributed  by  Lucille  Cheek  of  Chatham  county 
in  1923  as  "sung  by  W.  F.  C.  boys  to  the  tune  of  'Sweet  Adeline.'  " 

Seaboard  Air  Line 

Never  on  time ; 

At  half-past  nine 

Your  headlight  shines ; 

In  all  my  dreams 

Your  whistle  screams ; 

You  are  the  idol  of  my  heart, 

Seaboard  Air  Line. 

239 

A  Southern  Jack 

A  work  song  of  firemen  on  a  locomotive;  the  "iack"  is  the  engine 
See  ANFS  280. 

'A  Soutliern  Jack."     ContrilnUed  in   1919  by  W.  T.  Huckal)ee,    jr.,   with 
the  notation  that  lie  licard  it  in  All)emarle,  Stanly  county. 

I  got  a  southern  jack, 

1  got  a  southern  jack. 

b'irst  thing  yi^  do  shovel  in  the  coal. 

Next  thing  yi^  do  watcli  the  drivers  roll. 

I  got  a  southern  jack. 

1  got  a  southern  jack  ; 

All  aboard  on  the  southern  jack! 

'  So  tlR-  mamiscrii)!.  Is  it  intended  to  represent  the  Negro's  pronunci- 
atii)ii  of  "I"  nr  is  it  for  "ye,"  i.e.,  "you"? 


W    O  K  K      S  O  N  G  S  267 

240 

1    I'kKN"    a    M  INKR 

From  Miss  Jewell  Robhins,  Pckiii,  Montgomery  county  (later  Mrs 
C.  P.  Perdue),  witii  iihonograpli  recordinjj; ;  c.  1921-24;  described  as  ;i 
"Negro  halloa."     Cf.  "John  Henry.'  \'ol.  II.  No.  270. 

1  I  been  a  miner  all  n'  my  life. 

Never  lost  uothin'  ])ut  a  l)arl(i\\t'  knife' 

2  \V\f^  John  llemy,  lii*^  John  lienrv. 
Hig  John  Hemy.  po(jr  hoy  hlind. 

241 
Some  of  These  D.ws  .\nd  It  Won't  Be  Lo.ng 

A 

From  Mrs.  [O.  L.?]  Coffey.  ShuII's  \Iills.  Watauga  county;  undated. 
Dr.  White  comments  :  "This  is  a  gang  work-song,  probably  Negro.  A 
little  unusual  from  Mrs.  Coffey  of  Shull's  Mills."     Cf.  NWS   139. 

1  O  some  of  the.se  days  and  it  won't  be  long 
You'll  call  my  name  and  I'll  he  gone. 

Chorus: 

On.  boys,  don't  roll  so  slow. 

When  the  sun  goes  down  you'll  roll  no  more. 

2  I  wish  to  the  Lord  the  train  would  come 
For  to  carry  me  hack  where  I  came  from. 

3  I  wish  I  was  a  rich  man  son. 

I'd  stand  on  the  hanks  and  see  the  work   [done?] 

4  But  as  it  is  I  am  a  poor  man  son  ; 

I'll  wait  in  the  cut  till  the  pay  train  comes. 

5  Oh.  the  pay  train  time  come  and  time  gone. 
Poor  me  here  for  to  weep  and  to  moan. 

6  0  when  I  was  sick  and  in  my  bed 

I  had  my  diney   fDinali?]    for  to  hold  my  head. 

7  Roll  on,  boys,  and  make  yom-  time. 

For  the  day  will  come  and  I'll  make  mine. 
Roll,  roll,  boys. 

B 

From  Howell  J.  Hatcher.  Trinity  College  student.  December  5.  1919, 
with  music  and  note :  "Sung  by  Negro  worker  on  farm."  As  in  Wliite 
ANFS  258  (without  music). 

Some  of  these  days  and  it  won't  be  long 
You're  gona  call  me  and  I'll  be  gone. 

^  "Barlowe  knife" — a  cheap  pocket  knife,  of  a  sort  once  conimoii  in  the 
South. 


268  N  O  R  T  II      C  A  R  0  L  1  N  A     FOLKLORE 

242 

I  Aix't  A-Gonxa  Work  a  No  j\1o' ! 

I->oni  J.  I).  Johnson,  Jr.,  of  Garland,  Sampson  county,  December  1919; 
witli  note:  "Sung  to  banjo  by  old  Negro  in  eastern  North  Carolina." 
As  in  White  ANFS  294  (without  music). 

I  aint  a  gonna  work  a  no  mo' ! 

I  aint  a  gonna  work  a  no  mo' ! 

Done  an'  work-ed  'till  my  hands  got  sore. 

1  aint  a  gonna  work  a  no  mo' ! 

243 
Roll  Down  Dem  Bales  o'  Cotton 

From  Miss  Jewell  Robbins,  Pekin,  Montgomery  county  (later  Mrs.  C.  P. 
Perdue),  with  recording,  c.  1925. 

Roll  down  dem  bales  o'  cotton. 
Roll  down  dem  bales  o'  cotton, 
Roll  down  dem  bales  o'  cotton ; 
I  ain't  sfot  lonc"  to  stay  here  now. 


244 

I  Wish  My  Captain  Would  Go  Blind 

From  Thomas  Litaker,  Trinity  College  student  (in  1922  and  1926)  from 
Concord,  Cabarrus  county,  with  music  and  note:  "Heard  in  Cabarrus 
County,  N.  C."     As  in  White  ANFS  258   (without  music). 

1  wish  my  captain  would  go  blind. 
Wouldn't  go  to  work  till  half  past  nine. 

245 
Lavender  Girl 

This  is  the  first  stanza  of  the  once-popular  sonj^  'Lavender  Girl.' 
to  be  found  in  a  well-known  songliook  of  a  hundred  years  ago, 
The  I'orgct-Mc-Xot  Songster,  and  doubtless  elsewhere.  Our  text 
differs  .scarcely  at  all  from  that  of  the  songbook. 

No  title.  Contributed  by  Mrs.  R.  D.  Blacknall  of  Durham  as  one  of 
several  "old  songs  of  my  mother's.  .  .  .  She  sang  them,  to  my  knowl- 
edge, since  1862." 

When  the  sun  climbs  over  the  hills 
And  the  skylark  sings  so  merrily, 
Tlien   I  my^httle  basket  till 
And  trudge  away  to  the  village  cheerily. 
Light  my  burden,  light  my  heart ; 


W  OK   K      S  ()  N  C  S  269 

Nought  care   1   for  Cupid's  darl. 

I  kee])  uiy  mother,  uiyself,  aucl  my  brother 

P)y  trudgiug  away  to  sell  uiy  lavender. 

Ladies,  try  it !  Come  and  l)u\'  it  ! 

Never  saw  ye  nicer  lavender. 

Ladies,  buy  it.  try  it.  buy  it! 

Come.  come,  and  bu\'  mv  lavender. 

246 
Run  Here,  Doctor.  Run  Here  Quick 

Reported  as  Negro  song  from  North  Carolina  (ANFS  279), 
South  Carolina  (JAFL  xliv  426).  and  with  some  alteration  as  a 
rope-skipping  rhyme  from  Massachusetts  (JAFL  lii  305)  and  a 
Negro  song  from  Virginia  (TNFS  151).  In  the  form  given  below 
it  is  a  work  song;  the  "huh"  is  a  grunt  of  physical  effort. 

'Run  Here.  Doctor.'     Contributed  I)y  Dr.  N.   I.  White  in   1922  vvitli  the 
notation:  "First  heard  about  1908." 

Run  here,  doctor  (hub) 
Run  here  quick;  (huh) 
Little  Mary  (huh) 
Swallowed  a  stick,  (bub) 

247 
The  Washtub  Bfates 

This  simple  but  poignant  little  song  is  the  humble  lyrical  ecjuiva- 
lent  of  Pearl  Buck's  story  The  frill. 

'The   Washtub    Blues.'      Obtained   by   Julian    P.    Boyd   from   one   of   his 
pupils  in  the  school  at  Alliance,  Pamlico  county,  in   1927. 

1  I  washed  dat  woman's  clo'es 
And  I  hung  'em  on  de  line. 
My  back  most  a-breakin', 

I's  a-burtin'  all  de  time. 

2  And  when  I  got  'em  finished 
I  tuck  'em  to  her  do'. 

She  fussed  and  she  raved 
And  .she  flinig  'em  on  de  flo'. 

3  Ob,  Lordy,  lissen  heab, 
Lm  mighty  weak ! 

You'll  have  to  come  right  near, 
'Cause  I  ffot  de  washtub  blues! 


VIII 

FOLK   LYRIC 


BESIDES  BALLADS,  which  tell  a  story,  and  the  several  sorts 
of  songs  dealt  with  in  sections  LVIL  there  is  in  our  collection, 
as  in  folk  songs  generally,  a  large  body  of  songs  that  may  con- 
veniently be  called  folk  lyric.  They  deal  most  often — not  always — 
with  some  aspect  of  love  between  the  sexes.  But  they  tell  no  story. 
Indeed,  they  often  have  no  definite  theme;  they  are  medleys,  incon- 
sequent, and  their  component  stanzas  interchange  freely  from  song 
to  song.  They  are  made  up  of  images,  figures,  fancies  strung  to- 
gether on  a  tune  or  a  mood,  and  even  the  mood  is  likely  to  change 
within  the  limits  of  a  single  text.  Certain  images  are  especially 
beloved:  the  call  of  the  cuckoo,  the  castle  (or  cabin)  on  the  moun- 
tain top,  the  whistle  of  a  distant  train,  the  turtle  dove  flitting  from 
pine  to  pine  mourning  for  its  true  love,  chickens  crowing  on  Sour- 
wood  Mountain,  the  willow  tree,  the  leaves  that  wither,  flowers 
that  fade,  the  love  letter,  the  "who  will  shoe  your  little  foot,  and 
who  will  glove  your  hand"  of  'The  Lass  of  Roch  Royal,'  and  others. 
Some  of  the  songs  seem  to  be  as  completely  stream-of -consciousness 
stuff  as  Tristram  Shandy  or  Ulysses.  Of  these  it  might  be  said  with 
more  plausibility  than  of  any  other  form  of  folk  song  that  das  Volk 
dichtct.  The  images  sometimes  go  far  back  in  English  folk  song, 
sometimes,  as  in  ".Sourwood  ^Mountain,'  seem  to  be  original  in  the 
.Southern  mountains. 

Along  with  the  older  and  more  authentic  folk  lyric  exist  many 
songs  and  bits  of  song  that  were  originally  popular  sentimental 
ditties  but  have  been  passed  from  mouth  to  mouth  so  long  that 
they  have  become  folk  song  of  a  sort.  Some  of  them  are  by  known 
authors,  some  are  relics  of  the  minstrel  stage.  An  attempt  has 
been  made  here  to  pick  out  those  that  have  acquired  something  like 
folk  currency,  relegating  the  others  to  a  list  in  the  appendix. 

The  humorous  songs  included  in  this  division  are  generally  of 
less  interest  than  the  love  songs.  Some  are  from  the  minstrel  or 
vaudeville  stage,  some  arc  familiar  as  college  songs,  some  are  rig- 
mar(jles  or  nonsense  songs.  But  even  in  the  field  of  humor  the 
best  pieces,  and  proi)ably  the  oldest,  deal  with  the  j)erennial  prob- 
lems of  the  relations  between  the  sexes:  'The  Lords  of  Creation' 
tells  how  and  wliy  the  women  will  always  control  the  men,  in  'I 
Love  Little   Willie'  a  girl  demurely  relates  the  stages  of  her  sue- 


F  ()  1.   K      1.  V   K    1  C  271 

ces^ful  intrii,nie,  and  ''VUv  I'oor  Manifd  Man"  (k->cril)e>  liis  miser- 
able plij^lit.  But  none  of  tlieni  is  comparable  in  worth  as  folk 
sonjj  with  such  songs  as  "'riie  Inconstant  Lover'  or  'The  Wagoner's 
Lad'  or  "Little  Sparrow'  or  "Sourwood  Mountain.' 

248 

TiiK  Inconstant  Loner 

Of  the  many  folk  lyrics,  or  fragments  of  folk  lyric,  on  this 
theme,  it  is  convenient  to  assemble  some  under  this  title.  They  are 
linked  together  by  the  recurrence  of  certain  images,  motives — which, 
however,  may  also  appear  in  fairly  fixed  connection  with  other 
motives  and  images  and  are  accordingly,  in  that  case,  presented  m 
this  volume  under  other  titles.  See  BS.M  473-4.  and  add  to  the 
references  there  given  X'irginia  (FSV  82-3),  Arkansas  (OLS  i 
270-1),  Missouri  (OFS  i  271-2).  Indiana  (BSI  346-7,  SFLQ  iii 
204-5),  and  Wisconsin  (JAFL  lii  io-i,  from  Kentucky).  It  per- 
haps goes  back  to  the  Scottish  'The  Poor  Stranger'  (Christie  11 
220-1),  of  which  according  to  Kittredge  (JAFL  xxx  346)  Pitts 
printed  a  London  broadside  in  the  last  century.  In  this  country 
it  frequently  blends  with  or  takes  up  stanzas  from  'The  Cuckoo'  (as 
in  stanza  4  of  A  and  stanza  i  of  E  in  our  texts).  Our  E  is  very 
close  to  Cox's  'A  Warning  to  Girls'  ( FSmW\'  37-8)-  See  also 
'Prettv  Saro'  and  'Old  Smoky,'  below. 


'Forsaken  Lover.'  Reported  liy  Mrs.  Sutton,  who  does  not  give  the 
name  of  her  informant  or  the  date  and  place,  but  notes  :  "I  was  so  thank- 
ful for  this  show  of  spirit  in  one  of  the  mournful  ballads  that  1  told  the 
old  lady  I  liked  it  best  of  all  her  songs.  I  asked  her  what  'unconscious 
lover"  meant.  She  said,  "A  man  that  don't  have  no  conscience,  and 
the  most  of  'em  don't.'  " 

1  ril  take  off  this  black  dress.  I'll  ptit  on  the  green; 
For  I  am  for.saken.  and  I'm  only  nineteen. 

2  Oh.  meeting  is  a  pleasure,  and  parting  is  grief. 
An  unconscious  lover  is  worse  than  a  thief. 

3  He'll  court  vou.  and  kiss  you,  and  get  your  heart  warm; 
As  .soon  as  your  back's  turned  he'll  laugh  you  to  scorn. 

.  4     A  sparrow's  a  pretty  bird,  she  sings  as  she  flies. 
She  brings  vou  good  tidings  and  tells  you  no  lies. 

5     I^'orsaken.  forsaken,  forsaken  am  I, 

lUit  he's  shore  mistaken  if  he  thinks  I  will  cry. 


'Going  to  Georgia.'     From  tlie  manuscript  book  of  songs  of  Miss  Edith 
Walker  of  Boone,  Watauga  county.     Xot  dated. 

N.C.F..  Vnl.  TIT.  (20) 


■2~2  NORTH      C  A  R  (J  L  1  \  A      F  (J  I.  K  L  0  R  K 

1  I'm  going  to  Georgia.  I'm  going  to  roam, 
I'm  going  to  Georgia  to  make  it  my  home. 

2  Young  ladies,  take  warning,  take  warning  by  me, 
]3un't  never  put  dependence  in  a  green  growing  tree. 

3  The  k-aves  they  will  wither,  the  flowers  they  will  die ; 
A  voung  man  will  f(jol  you,  like  one  has  fooled  I. 

4  They'll  hug  you  and  kiss  you  and  tell  you  more  lies 
Than  the  leaves  on  the  timber  and  the  stars  in  the  skies. 

5  My  father  is  a  drunkard,  my  mother  is  dead, 

l\lv  husband's  off  gambling;  Lord,  I  wish  I  was  dead. 

6  Your  grave  it  will  moulder  and  turn  into  dust. 
There's  not  one  in  twenty  a  poor  girl  can  trust. 

c 

* 

'YouiiK    Girls,    Take    Warning.'       Secured    from     Mrs.    Loraine    Iseley 
Pridgen  of  Durham  in   1923. 

1  Young  girls,  take  warning,  take  warning  from  me ; 
Don't  put  your  dependence  in  a  green  growing  tree. 

2  For  the  leaves  they  will  wither,  the  roots  they  will  die ; 
The  young  boys  will  leave  you,  'cause  one  has  left  1. 

3  They  will  hug  you,  they  will  kiss  you,  they  will  tell  you 

more  lies 
Than  cross  ties  on  railroads  and  stars  in  the  skies. 

4  I  once  had  a  lover  as  dear  as  my  life. 

And  oft  did  he  promise  for  to  make  me  his  wife. 

5  I  left  my  poor  daddy  against  his  commands, 

I  left  my  poor  mother  a-wringing  her  hands. 

6  And  now  I'm  unhappy,  I  am  sick  on  my  bed; 

My  husband's  off'  gambling ;  Lord,  1  wish  1  was  dead. 

7  I'm  going  away  to  Georgia.  I  am  going  away  to  roam, 
Lm  going  away  to  Georgia  for  to  make  it  my  home. 


'We  Loved,  but  We  Parted.'  Reported  by  A.  C.  Jordan  of  Durham  as 
received  from  his  brother,  who  said  that  "as  a  small  hoy  out  in  Orange 
county,  Nortli  Carolina,  he  lieard  the  song  sung  i)y  an  old  Negri),  June 
Vaniiook,  and  later  by  neiglil)orh(K)d  iioys  who  played  the  banjo."  The 
first  three  stanzas  lielong  ratlier  with  'We  Have  Met  and  We  Have 
Parted,'  and  tlie  fiftii  to  another  folk  lyric,  'Poor  Stranger  a  Thousand 
Miles  from  Home'  (HSM  487);  hut  the  fourtli  stanza  is  a  persistent 
fe;itin'e  of  "Tiie   Inconstant   Lover.' 


Folk     i.  n  k  i  f  273 

1  We  l(i\(.'(l,  hut  \\c  ])arU'(l  ;  wIkmi  sIk'  said  iijoodhyc 
She  swore  that  she  h)\v(\  me  until  she  would  die. 

2  Then  you  came  aloiiii",  while  1  was  away. 

She  went  and  f(jroot  me.  just  like  folks  all  say. 

3  Now  you  think  she  lo\-es  you.     Dut  just  wait  and  see; 
I'^or  she  will  forget  you  like  she  forgot  me. 

4  She'll  hug  you.  she'll  kiss  \-ou.  she'll  tell  you  more  lies 
'idian  the  cross-ties  on  the  railroad  or  the  stars  in  the  skies. 

5  ( io  huild  nie  a  log  cabin  on  the  motnitain  so  high. 

\\  here  the  wikl  goose  can't  hnd  me  nor  hear  mv  ]M)or  cry. 


'Cuckoo  Is  a  Pretty  Little  Bird.'  From  the  Joliii  Ikirch  Blaylock  Col- 
lection, made  in  Caswell  and  adjoining  counties  in  the  years  1927-32. 
Here,  for  tlie  first  time  in  our  collection,  the  cuckoo  stanza  appears  in  its 
normal  form.  For  stanza  6  see  BSM  487  and  488.  and  compare  stanza 
5  of  version  D  above.  With  stanza  5  compare  'Seven  Long  Years  Lve 
Been  Married,'  p.  56,  and  with  stanza  4  'Troubled  in  Mind,'  ji.  344. 

1  Cuckoo  is  a  i)retty  bird. 
She  sings  as  she  flies. 

She'll  bring  you  good  tidings. 
She'll  tell  you  no  lies. 

2  I  once  loved  a  fond  young  man 
As  dear  as  my  life, 

And  ofttimes  he'd  promise 
To  make  me  his  wife. 

3  He  fulfilled  his  promise  ; 
He  made  me  his  wife. 
Now  see  what  I've  come  to 
By  changing  my  life. 

4  It's  trouble,  it's  trouble. 
It's  trouble  on  my  mind ; 
If  trouble  don't  kill  me 
I'll  sure  live  a  long  time. 

5  My  children  are  crying. 
They're  crying  for  bread. 
My  husband's  off  gambling — 
Lord.  I  wish  I  was  dead. 

6  ril  build  me  a  castle 
Un  the  mountain  so  high 
Where  the  dear  Lord  can  see  me 
And  hear  my  poor  cry. 


274  N'  ()  R  T  H     CAROLINA     FOLKLORE 

7  Vount;-  ladies,  young  ladies, 
Take  warning  from  me; 
Never  put  your  dependence 
In  a  green  growing  tree. 

8  h'or  the  leaves  they  will  wither, 
The  roots  they  will  die. 

A  young  man  will  fool  you. 
For  one  has  fooled  I. 


I'm  going  to  (leorgia, 
I'm  going  to  Rome, 
I'm  going  to  Georgia 
And  call  it  my  home. 


'Little   Sparrow.'     Reported  by  Mrs.   Sutton  as  a  fragment  of  the  song 
so  called,  but  it  belongs  rather  to  The  Inconstant  Lover.' 

1  Young  woman,  young  woman,  take  warning  from  me. 
Don't  put  your  affections  on  no  green  growing  tree. 

2  He'll  swear  that  he  loves  you,  he'll  tell  you  more  lies 
Than  there's  ties  on  the  railroad  and  stars  in  the  skies. 


249 
The  Turtle-Dove 

The  turtle-dove  is  a  recurrent  figure  in  the  folk  lyric  of  love 
and  has  been  for  a  long  time.  In  England  it  appears  in  a  ballad  of 
the  seventeenth  century  {Roxhurghc  Ballads  vii  ^22)  and  in  our 
own  time  in  Sussex  (JFSS  iv  286-90)  and  in  Dorset  (JFSS  iii 
86-8)  ;  Scotland  has  a  song  (Christie  11  164-5)  containing  not  only 
this  but  many  of  the  other  elements  of  traditional  love  lyric  cur- 
rent in  the  United  States;  in  this  country  it  appears  in  songs  from 
Virginia  (SharpK  11  T16,  SCSM  316),  North  Carolina  (SharpK 
II  113-14),  and  Missouri  (BSM  479,  481.  482,  486),  and  doubtless 
elsewhere.  Mrs.  Steely  reports  it  from  the  Ebenezer  connnunity 
in  Wake  county.  Our  text  contains  another  element  of  folk  lyric, 
that  of  going  up  on  a  mountain;  see  'Old  .Smoky'  and  'The  Incon- 
stant Lover'  in  this  volume  and  B.SM  487. 

'Little    Turtle    Dove.'      As    sung    by    Letch    Reynolds,    in    Sandy    Mush 
township.  Buncombe  county ;  not  dated. 

I      poor  little  turtle  dove 
A-sitting  in  the  i)inc' 
]\Iotu"ning  for  its  own  true  love; 
And  whv  not  me  for  nune-oh-mine, 
And  \\\\\  not  nic  for  mine? 


V  ()  1.   K      I.  V  K   I  C  275 

I'm  nut  t;ninj4  to  mai"r\-  in  the  spring  ol   the  year, 

I'll  marry  in  the  fall. 

I'm  going  to  marry  a  i)rctty  little  girl 

Who  wears  a  dollar  shaw  l-a-shawl. 

\\  ho  wears  a  dollar  shawl. 

I'm  not  going  to  marry  in  the  tall  ol   the  year, 

I'll  marry  in  the  spring. 

I'm  going  to  marry  a  pretty  little  girl 

Who  wears  a  silver  ring-a-ring, 

Who  wears  a  silver  ring. 

1  went  up  on  the  mountain 

To  get  a  turn  of  corn; 

The  squirrel  curled  his  tail  around 

And  the  possum  hroke  his  horn-a-horn. 

And  the  possum  hroke  his  horn. 

I  went  up  on  the  mountain 
To  give  my  horn  a  l)low  ; 
Away  down  in  the  valley 
1  heard  a  chicken  crow-a-crow, 
1  heard  a  chicken  crow. 

Hogs  in  the  pen 

And  corn  to  feed  them  on  ; 

And  all  I  want  is  a  pretty  little  girl 

To  feed  'em  when  I'm  gone-a-gone, 

To  feed  'em  when  I'm  gone. 


250 

Thk  Wagoner's  L.\d 

Tliis  is  one  of  those  folk  lyrics  of  unliappy  love  that  are  of 
uncertain  content,  taking:  up  or  slou.trhing:  ott  plu'ases  and  inia.s:es 
as  thev  pass  through  the  minds  and  feelings  of  singers.  The  core 
of  it.  'in  so  far  as  it  has  one,  is  the  lovelorn  girl  trying  to  prevent 
the  wagoner  lad  from  leaving  lier.  It  slips  almost  unnoticed  into 
another  (if  it  really  is  another)  often  called  'Old  Smoky.'  .\nd 
like  "Old  Smoky'  it'  belongs  to  tlie  soutliern  Appalacliians  and  to 
the  days  of  what  Winston  Churchill  called  "The  Crossing,"  the 
time  of  freighting  over  the  mountain  passes  to  the  newer  country  in 
the  West.  It  is  known  in  Virginia  (  SharpK  11  127.  SCSM  2-y;, 
FSV  83-5),  Kentuckv  (JAFL  xx  268-9,  LT  64,  SharpK  11  124-5, 
BKH  i\g-20,  Shearin's  svllabus),  Tennessee  (ETWVMB  37, 
SharpK  11  125-6.  127.  and'  a  trace  of  it  in  JAFL  xlii  292-3). 
Nordi  Carolina  (JAFL  xxviii  159.  xi.v  108-10,  SharpK  11  123-4. 
126-7,  SCSM  277-9.  FSSH  279-80.  SSS.\  2-3.  18-9),  Georgia 
(FSSH  280-1.   IA1'"L  XI. V  iio-TT).  and   Indiana  (SMAJ  iii  212-13. 


276  NORTH     CAROLINA     FOLKLORE 

215-16).  There  is  a  trace  of  it  reported  from  Mississippi  (JAFL 
XXIX  148),  another  from  Arkansas  (OFS  iv  216),  another  from 
Iowa  (jMAFLS  XXIX  49),  and  another  from  Nova  Scotia  (BSSNS 
138).  ]Mrs.  Steely  found  it  in  the  Ehenezer  community  in  Wake 
county.  I  have  found  no  trace  of  it  in  the  New  En.^^land  states; 
its  appearance  in  Indiana  tradition  is  intelli.c^ihle  enough  if  we 
rememher  that  that  state  was  in  great  part  settled  from  the  South. 
There  are  three  texts  of  it  and  three  fragments  that  may  be 
assigned  to  it  in  the  Brown  Collection,  besides  an  Ediphone  record. 

A 
'W'agoner's    Lad.'      Contributed    Iw    I.    G.    Greer    of    Boone,    Watauga 
county,  about  1916. 

1  I'm  but  a  poor  ori)han,  my  fortune's  been  bad; 
I've  a  long  time  been  courted  by  a  wagoner's  lad. 
He  courted  me  truly  by  night  and  by  day ; 

But  now  he  is  loaded  and  going  away. 

2  'Your  horses  are  hungry,  go  give  them  some  bay  ; 
Come  sit  down  beside  me,  darling,  as  long  as  you  stay." 
'My  horses  aren't  htmgry,  nor  they  won't  eat  your  hay. 

So  fare  you  well,  darling,  I've  no  time  to  stay.' 

3  He  mounted  his  horses  and  away  he  did  ride 
And  left  the  girl  weeping  on  New  River  side. 
But  when  he  returned,  she  crowned  him  with  joy 
And  kissed  the  sweet  lips  of  the  wagoner  boy. 

4  'I  can  love  yott  right  lightly,  or  I  can  love  long; 

I  can  love  an  old  sweetheart  till  a  new  one  comes  on, 
I  can  hug  him  and  kiss  him  and  keep  him  with  ease, 
Then  turn  my  back  on  him  and  court  who  I  please. 

5  'So  hard  is  the  fortune  of  poor  woman-kind! 
They're  always  controlled  and  they're  always  confined. 
Controlled  by  their  parents  until  they're  made  wives. 
Then  slaves  for  their  husbands  the  rest  of  their  lives. 

6  'Young  ladies,  young  ladies,  take  warning  from  me, 
Never  cast  your  affection  on  a  young  man  so  free. 
He  will  hug  you  and  kiss  you  and  tell  you  more  lies 
Than  the  leaves  on  the  green  trees  or  stars  in  the  skies.' 

B 

'Tile  Wagoner  Lad."  Reported  by  Mrs.  Sutton  from  tbe  singing  of 
Myra  Barnc-tt  (.Miller),  who  lived  as  a  nurse  with  the  Minish  family 
in  Mrs.  Sutton's  cbildhood  and  from  wboni  Mrs.  Sutton  (then  Maude 
Minish)  first  beard  many  of  tlie  ballads  wbicb  slie  was  afterwards  to 
report  for  tbe  Brown  Collection.  \h\t  she  heard  it  also  from  many  others. 
"1  have  variants  <if  'The  Wagoner's  Lad.'"  she  writes,  "from  Cald- 
well,   Mitclirll,   ^';uK•ev.  and    Ibnu-ouibe  countit-s.      I    collected   it   once   on 


FOLK     L  V  K  1  C  2/7 

Toe  River."  Of  Myra  Barnett  she  writes:  "Myra,  like  every  ballad 
singer  I've  seen,  was  convinced  of  the  perfidy  of  men.  Trnth  and  de- 
votion were  not  to  be  found  in  the  masculine  gender,  according  to 
Myra's  attitude  and  songs."  But  this  is  of  course  merely  the  traditional 
tone  of  the  folk  lyric.  Mrs.  Sutton's  report  of  Myra's  version  exists 
in  the  manuscripts  of  the  Collection  in  two  forms,  which  differ  slightly 
but  significantly:  botli  arc  therefore  given.  The  last  two  lines  of  stanza 
I  are  no  doubt  a  refrain,  to  be  repeated  after  each  stanza. 

1  'Go  away  from  me,  Willie,  and  leave  me  alone ; 
For  I  am  a  poor  girl  and  a  long  way  from  home. 
Oh  yes,  I'm  a  poor  girl,  my  fortune'.s  been  bad; 
I've  a  long  time  been  courted  by  a  wagoner  lad. 

He  courted  me  duly,  by  night  and  by  day. 
And  now  he  is  loaded  and  a-going  away. 

2  'Your  horses  are  hungry,  go  feed  them  some  hay. 
Come  sit  you  down  by  rne  as  long  as  you  stay.' 
'yiy  horses  ain't  hungry;  they  won't  eat  your  hay, 
So  fare  you  well,  darling.  I'm  a-going  away.' 

3  'Your  horse  is  to  saddle,  your  wagon's  to  grease. 
Come  sit  you  down  by  me  as  long  as  you  please.' 
'My  horse  it  is  saddled,  my  whip's  in  my  hand ; 
So  fare  you  well,  darling,  I've  no  time  to  stand. 

4  'Your  parents  don't  like  me  because  I  am  poor; 
They  say  I'm  not  worthy  to  enter  your  door. 
Some  day  they  will  rue  it,  and  rue  it  in  vain. 
For  love  is  a  killing  and  tormenting  pain. 

5  'I  can  love  little,  or  I  can  love  long. 

I  can  love  my  old  sweetheart  till  a  new  comes  along. 
I  can  hug  her  and  kiss  her  and  prove  to  her  kind ; 
I  can  turn  my  back  on  her  and  also  my  mind.' 

(1)) 

1  'Go  away  from  me.  Willy,  and  let  me  alone. 
For  I  am  a  poor  girl  and  a  long  way  from  home. 
Oh  yes,  I'm  a  poor  girl,  my  fortune's  l)een  bad. 

I  have  a  long  time  been  courted  by  a  wagoner  lad. 
He  courted  me  duly,  by  night  and  by  day, 
And  now  he's  a-loadin'  and  a-goin"  away  ! 

2  'Your  horses  is  hungry,  go  feed  them  some  hay. 
Come  set  you  down  by  me  as  long  as  you  sta}.' 
'My  horses  ain't  hungry,  they  won't  eat  your  hay. 
So  fare  you  well,  darlin'.  I'm  goin'  away. 

I  courted  you  duly,  by  night  and  by  day. 
But  now  I  am  loaded  and  a-goin'  away.' 


278  N  O  R  T  H      C  A  K  0  L  I  N  A      FOLKLORE 

3     His  wagon  is  loaded  and  stands  in  the  road. 

He  leaves  poor  Nelly  a-totin'  a  load. 

So  come,  all  young  ladies,  if  you  wouldn't  be  sad, 

Avoid  the  attentions  of  a  wagoner's  lad. 

They'll  court  you  all  duly  by  night  and  by  day. 
And  then  the\-  will  leave  you  and  go  far  away. 

c 

'My  Horses  Ain't  Hungry.'  Secured  in  1939  from  the  manuscripts  of 
G.  S.  Robinson  of  Asheville.  Not  strictly  a  North  Carolina  version, 
since  it  was  taken  down  in  Pulaski  county,  Kentucky ;  but  it  represents 
a  southern  Appalachian  tradition. 

1  'Oh.  my  horses  ain't  hungry,  they  won't  eat  your  hay. 
I'll  hitch  up  my  horses  and  drive  right  away. 

Your  mama  and  papa  they  think  I'm  too  poor. 

So  I'll  hitch  up  my  horses  and  drive  from  your  door.' 

2  'Oh,  Johnnie,  sweet  Johnnie,  ye  know  that  I  care; 
I'd  drive  right  away  with  ye  now  if  I'd  dare. 

My  mama  and  pai)a  thev  want  me  to  home. 

But  I  love  ye,  sweet  Johnnie,  and  with  ye  I'll  roam.' 

3  'Your  mama  and  papa  and  family.  I'm  told. 
Say  all  I  be  wantin'  is  part  of  your  gold. 
But  Polly,  sweet  Polly,  oh.  how  can  ye  stay 
With  my  horses  hitched  uj^  and  I'm  a-going  away?' 

4  'Oh,  I  hate  to  leave  mama,  she  treats  me  so  kind. 
But  I  do  love  ye  so.  darling  Johnnie  of  mine ! 

Ye  must  tell  me,  my  darling,  if  with  ye  I  roam. 
That  deep  in  your  heart  I'll  always  be  home. 

5  So  goodbye,  dear  mama,  we're  leavin'  today. 
We'll  drive  along  southward,  and  feed  on  the  way  : 
'Cause  young  love  is  hap])ier  far  than  old. 

And  that's  all  our  story  we  care  to  be  told.' 

n 

'Pretty  Mary.'  From  Mamie  Mansfield  of  tiie  I'^owler  Scliool  District, 
in  Durham  county,  in  1922.  Like  so  many  folk  love  lyrics  it  is  a  com- 
posite of  divers  simples,  but  may  he  reckoned  with  'The  Wagoner's  Lad' 
in-  virtue  nf  its  last  stanza.     See  'Trouliled  Mind,'  \).  344  below. 

1      'Ih-etty  Alary,  pretty  Mary,  do  yoti  think  it's  luikind 
l'"or  me  to  come  to  see  you  and  tell  you  niv  mind? 
My  mind  is  for  to  marry  and  never  UKjre  part, 
For  the  first  time  1  saw  you  you  broken  my  heart. 
I'll  go  'way  to  the  mountain,  to  the  mountain  so  high; 
I'll  send  \-ou  a  letter  as  the  wild  geese  go  bv.' 


r  ()  I.  K    I,  V  R  1  c  279 

Chorus: 

1  am  trouljk'd.  1  am  troubled.  J   am  troubled  in  mind. 
And  if  trouble  don't  kill  me  I'll  live  a  long  time. 

"Take  out  your  horses  and  ivv<\  them  some  haw 

And  sit  down  beside  me  as  long  as  vou  mav.' 

'My  horses  are  not  hungry,  and  they  won't  eat  your  hay. 

I'll  drive  on  a  little  further  and   feed  on  the  wav." 


'Poor  Johnny.'  Tliis  and  the  following  fragment  clearly  belong  with  the 
first  stanza  of  D,  though  they  lack  any  direct  connection  with  'The 
Wagoner's  Lad.'  The  present  fragment  was  reported  by  Mrs.  Sutton, 
without  date,  as  a  "dance  song,  with  banjo,"  from  the  performance  of 
Silas  Ruchanan  of  Horse  Creek,  Ashe  ct)unty.  She  conmients :  "This 
tune  is  marvelously  infectious.  We  'ran  a  reel'  to  it  tonight,  at  Silas 
Buchanan's.  One  call  was  particularly  funny.  "Ca-se  the  bird,'  called 
out  the  leader.  Three  of  us  caught  hands,  leaving  the  fourth  member 
in  the  center.  'Red  bird  out  and  buzzard  in'  was  the  next  command, 
and  the  lady  came  out  of  the  ring  while  her  partner  took  her  place. 
Silas  doesn't  want  the  school  authorities  to  know  that  he  sanctions 
dancing.  'I  let  the  young  folks  play  a  little  when  the  boys  come  down 
the  creek,'  he  said,  'but  they  don't  do  no  round  dancin'.'  " 

Poor  Johnny,  poor  johnny,  would  you  think  it  unkind 
Fur  me  to  sit  down  beside  you  and  tell  you  m\-  mind? 
My  mind  is  to  marry  and  never  to  part : 
Fur  the  first  time  I  saw  you,  you  wounded  m\-  heart. 

F 

'Lovely  Emma.'  Contributed  by  Elsie  Doxey  of  Currituck  county,  but 
with  the  notation  that  it  came  from  western  North  Carolina.  Its  rela- 
tion to  1)  and  E  is  obvious.  It  might  perhaps  as  well  be  thought  of  as 
part  of  'Pretty  Polly'  (i.e.,  'The  Gosport  Tragedy'),  for  a  Tennessee 
text  of  that  ballad  (ETWV.MB  74)  begins  with  the  same  stanza  except 
that  the  name  there  is  Polly  instead  of  Emma. 

Lovely  Fmma.  sweet  Fmma,  would  you  think  it  unkind 

If  I  were  to  sit  by  yf)U  and  tell  you  my  mind? 

My  mind  is  to  marry  and  never  to  part ; 

The  first  time  I  saw  you  you  wounded  mv  heart. 

Clwnts: 

Oh,  her  breath  smells  as  sweet  as  the  dew  on  the  vine. 
God  bless  vou,  lo\elv  ICmma,  I  wish  vou  were  mine. 


251 

Soi^RWOOI)  MoU.XT.MN 

A  great  favorite  in  the  Southern  mountains,  'i'exts  have  been 
reported  from  Virj,nnia  (AMS  89,  FSSH  400.  FSV  246).  Ken- 
tucky  (Shcarin  38,  LT  ot-.^,  RKH    170-1.  SharpK   11  ,^0.  .ASh   125, 


28o  NORTH      CAROLINA      F  O  L  K  L  0  R  p: 

320-1.  DD  1 14-15).  Tennessee  (FSSH  401,  ETWVMB  n).  North 
Carolina  (JAFL  xxii  249,  xliv  85,  FSSH  399),  Georgia  (SharpK 
II  305),  and  Missouri  (OFS  iii  155-/).  Commonly  it  is  a  dance 
or  play-party  song  (Thomas  Smith  calls  his  version  a  jig),  but 
it  may  be  just  a  song.  Texts  vary  considerably,  and  so  does  the 
refrain;  Miss  Bascom  (version  C)  remarks  that  the  variation  in 
the  refrain  lines  is  due  to  the  individual  singer's  attempt  to  imitate 
his  banjo.  Mrs.  Richardson  (AMS  117)  says  that  Sourwood 
Mountain  is  a  spur  of  Sandy  Ridge  in  Russell  county.  Virginia, 
but  there  are  other  mountains  of  the  same  name,  taken  from  the 
sourwood  brush  (the  sourwood  is  the  sorrel  tree,  Oxydcndroti 
(trborciiiii,  common  in  the  Alleghanies  ). 

A 

'Sourwood  Mountain."  From  I.  G.  Greer,  Boone.  Watauga  county,  in 
1922.  With  the  tune.  Greer's  text  exists  in  the  Collection  in  two 
forms,  the  first  of  which,  a  manuscript  in  Dr.  Brown's  hand,  runs  as 
follows : 

1  I've  got  a  girl  in  the  Sourwood  nu)untains  ; 
She's  gone  cripple  an'  blin'. 

She's  broke  the  heart  of  many  a  pore  feller 
But  she  ain't  broken  this'n  o"  mine. 

2  I've  got  a  girl  in  the  bend  o'  the  river, 
Tink-tank-toodle  all  the  day. 

A  hop  and  a  jump  and  I'll  be  with  her, 
Tink-tank-toodle  all  the  day. 

3  I've  got  a  love  in  tiie  Buffalo  holler. 
Tink-tank-toodle  all  the  da}-. 

She  wouldn't  come  an'  it's  I  won't  call  her. 
Tink-tank-toodle  all  the  day. 

4  Now  my  love  w-ent  a-floatin'  down  the  river, 
Tink-tank-toodle  all  the  day. 

If  I  had  my  boat  I'd  'a'  went  with  her, 
Tink-tank-toodle  all  the  day. 

5  An  old  grey  goose  went  a-swimmin'  down  the  river, 
Tink-tank-toodle  all  the  day. 

If  I  was  a  gander  I'd  a  went  with  her. 
Tink-tank-toodle  all  the  day. 

6  l')ig  dog  bark,  little  dog  bile  you. 
Tink-tank-toodle  all  the  day. 

P>ig  girl  court  and  little  girl  slight  you, 
Tink-tank-tondU-  all  the  dav. 

7  1  got  a  girl  in  the  head  of  the  holler. 
Tink-tank-toodle  all  the  dav. 


FOLK      LYRIC  281 

SIh'  Wdii'l  come  and   1   won't    foller, 
'l"ink-tank-t(i(i(llr  all  llic  day. 

8  She  sits  up  with  old  Si   1  lall. 
Tink-tank-toodlc  all  the  da\-. 
Me  and  Jeff  can't  go  there  at  all. 
'J'ink-tank-toodle  all  the  day. 

9  Some  of  these  days  he  fore  verv  lon^ 
'I'ink-tank-toodle  all  the  day. 

I'll  i^et  that  girl  and  a-honie  I'll  run 
Tink-tank-toodle  all  the  day. 

Greer'.s  other  text  differs  sliglitly  in  the  refrain  hne.  which  liere  rnns  : 
'He-tink-toodle  all  the  day,"  by  having  a  stanza  marked  "chorus" : 

I've  got  a  gal  in  the  Sourwood  Motintain 
He-tink-toodle  all  the  day 
I've  got  a  gal  in  the  Sourwood  Mountain 
He-tink-toodle  all  the  day, 

and  hy  tlie  introduction  of  a  stanza   (the  tliird)   not  in  tlie  other  version: 

Get  your  dog  and  your  old  gun, 
He-tink-toodle  all  the  day 
Let's  go  a-huntin'  and  have  a  little  fun. 
He-tink-toodle  all  the  day, 

and  by  having  as  its  seventh  stanza  the  first  stanza  of  Smith's  version  ( B. 
l)elo\v).  (Otherwise  its  stanzas  correspond  ( witli  the  difference  in  the 
refrain  line  noted  above  and  with  "Buffalo  Holler"  in  place  of  "the 
head  of  tlie  holler")  with  those  of  the  first  version,  but  in  a  different 
order;  using  the  order  of  the  first  version,  this  version  consists  of 
stanzas  i,  7  (its  third  stanza  is  given  above),  5,  4,  9,  7  (stanza  8  of  the 
first  version  does  not  appear ) . 

B 

'Sourwood  Mountain.'  Contributed,  probalily  in  191 5,  by  Thomas  Smitli 
of  ZionviJie,  Watauga  county,  with  the  notation  that  "the  above  jig  has 
been  sung  and  played  as  far  back  as  tiie  oldest  person  of  this  place  can 
rememl)er."     W'itii  tiie  tune,  as  sung  by   Mrs.  Joseph   Miller. 

1  Chickens  are  crowing  in  the  Sourwood  Mountains. 
Chickens  are  crowing  for  day. 

Chickens  are  crowing  in  the  Sourwood  Mountains, 
( )h  fod  da  link  a  day. 

2  I  have  a  love  in  the  Sourwood  Mountain, 
Oh  fod  da  link  a  day. 

I  have  a  love  in  the  Sourwood  Mountain, 
r)h  fod  da  link  a  day. 


282  NORTH   CAROLINA   FOLKLORE 

3  She  won't  come  and  1  won't  call  her. 
Oh  fod  da  link  a  day. 

She  won't  come  and  1  won't  call  her, 
Oh  fod  da  link  a  day. 

4  Wake  up.  Sam.  and  let's  go  a-hunting. 
Oh  fod  da  link  a  day. 

Wake  up,  Sam.  and  let's  go  a-hunting, 
Oh  fod  da  link  a  day. 

5  Way  o\er  in  the  Ikickeye  hollow. 
Oh  fod  da  link  a  day. 

Way  over  in  the  P)Uckeye  hollow, 
Oh  fod  da  link  a  day. 


'Sourvvood  Mountain.'  The  Collection  has  two  texts  contributed  by 
Louise  Rand  Bascom.  In  her  1909  paper  on  North  Carolina  balbds 
(J.'\FL  x.xii  238-50)  she  speaks  of  'Sourwood  Mountain'  as  a  ballad 
she  would  like  to  get  but  of  which  she  knows  only  one  stanza  ( which 
is  the  first  stanza  of  A).  Later,  evidently,  she  secured  the  two  texts 
in  our  collection.  The  first  of  these  corresponds  to  the  first  five  stanzas 
of  -A  except  for  a  somewhat  different  refrain  line:  'Taddle-tink-tank- 
toodle  all  the  day.'  The  other  is  also  of  five  stanzas,  the  first  three  of 
which  correspond  to  stanzas  i,  5,  7  of  .\  (with  a  slightly  different 
refrain  line)   and  tlie  other  two  are 

4  A  i)retty  little  girl  went  a-floating  down  the  river. 
Fol-tom-tollie-tum  all  the  day, 

Ef  I  could  a  swum  I'd  a  went  with  her, 
Fol-tom-tollie-tum  all  the  day. 

5  The  chickens  is  a-crowin'  in  the  sourwood  holler, 
Fol-tom-tollie-tum  all  the  day, 

Ef  ye  don't  helieve  it,  Fll  het  yon  ri  dollar, 
Fol-tom-tollie-tum  all  the  da  v. 


'Sourwood    Mountain.'      Contributed   by   J.    E.    Massey   of    Klon    College, 
Caswell  county,  apparently  in   191 7. 

1  Chicken  crowing  on  .Sourwood  Mounlaiii, 
Hey  ho  diddle  dum  day 

(jet  your  dogs  and  we'll  go  a-luuuing, 
lley  ho  diddle  dum  di-ay. 

2  My  true  lo\e  she  lives  in  Letcher, 
Hey  ho  diddle  dum  dav 

She  won't  come  and  1   won't   fetch  her. 
Hev  ho  diddle  dum  di-ay. 


r  ()  I.  K    I,  ^■  R  1  c  283 

3  Big  doi^-  bark  and  little  one  bite  you, 
Hey  ho  diddle  duni  day 

llii^  girl'll  court  and  little  one  slight  you, 
1  ley  ho  diddle  duni  di-ay. 

4  My  true  love  lives  up  the  river. 
Hev  ho  diddle  duni  day 

A  few  more  jum])s  and  I'll  be  with  her, 
Hey  ho  diddle  duni  di-ay. 

E 

'Sour wood  Mountain.'  Reported  hy  Mrs.  Sutton,  apparently  in  191 6  or 
1917.  She  says:  "Its  rhythm  is  irresistible.  The  words  cannot  be 
applied  to  the  tune  by  anybody  but  a  mountaineer.  I  heard  it  first  at 
a  dance  given  for  the  drafted  men  who  were  leaving  Xewland  [Avery 
county]    for  Camp  Jackson."     She  gives  only  three  stanzas. 

1  Chicken  crowin'  on  Sourwood  Mountain, 
Yoy  ho  diddle  dum  day 

Git  your  dogs  and  we'll  go  a-huntin', 
Yuly  ho  diddle  dum  day. 

2  .Mv  little  gal's  a  blue-eyed  daisy, 
Yoy  ho  diddle  dum  day 

If  I  don't  git  her  I'll  go  crazy, 
Yoy  ho  diddle  dum  day. 

3  Big  dog  bark  and  little  dog  bite  ye, 
Yov  ho  diddle  dum  day 

Big  girl  coiu-t  and  little  girl  slight  ye, 
Yoy  ho  diddle  dum  day. 

F 

'Sourwood  Mountain.'  Contrilnited  by  Otis  Kuykendall  of  Aslievillc 
in  1939.     The  refrain  line  here  is  entirely  different. 

1  I've  got  a  girl  in  Sourwood  Mountain, 
She's  both  crippled  and  blind. 

She's  broke  the  heart  of  many  a  poor  boy. 
But  she  can't  break  the  heart  of  mine. 

Chorus: 

Chickens  a-crowing  in  the  Sourwood  Mountain, 
Tell  my  honey  she  had  better  get  away. 
Chickens  a-crowing  in  the  Sourwood  Mountain. 
Tell  my  honey  it's  not  long  till  day. 

2  Jav  bird  a-sitting  on  a  hickory  limb. 
Tell  my  honey  she  had  better  get  away, 
Mv  big  rifle  will  sure  get  him. 

Tell  mv  honey  she  had  better  get  away. 


284  N  <»  K  T  II     CAROLINA     FOLKLORE 

3     The  big  clog  bark  and  the  little  dog  bite  you. 
Tell  my  honey  she  had  better  get  away. 
Big  girls  court  you  and  the  little  girls  slight  you, 
Tell  my  honey  she  had  better  get  away. 

G 

'Sourwood  Mountain.'  Contributed  by  Miss  Kate  S.  Russell  of  Rox- 
boro,  Person  county,  in  1923  or  thereabouts.  Here  again  the  refrain 
line  is  slightly  different  from  those  given  before.  It  runs  the  same 
throughout  the  song. 

1  Chickens  crowing  on  Sourwood  Mountain, 
Hay  ho  didyum  day. 

Get  my  dog.  and  I'll  go  hunting. 
Hay  ho  didyum  day. 

2  My  true  love  lives  up  the  hollow, 
She  won't  come  and  I  won't  follow. 

3  My  true  love  is  a  blue   (or  black  or  brown) -eyed  daisy; 
If  she  don't  come,  I'll  go  crazy. 

4  Old  man.  old  man,  I  want  your  daughter 
To  bake  my  bread,  and  carry  me  water. 

H 

'Chickens  A-Cro\ving  in  the  Sourwood  Mountains.'^  Reported  by  Ger- 
trude Allen  (later  Mrs.  Vaught)  from  Oakboro,  Stanly  county.  The 
manuscript  is  in  six-line  stanzas,  pretty  certainly  wrongly,  but  the  editor 
will  not  undertake  to  correct  the  error. 

1  Chickens  a-crowing  in  the  Sourwood  mr)untains.^ 
Hay  oh  doodle  may  day 

So  many  pretty  girls  I  can't  count  them. 
Hay  oh  doodle  may  day 
They  won't  come  and  I  won't  call  them. 
Hay  oh  doodle  may  day. 

2  Old  man.  old  man.  I  want  your  daughter, 
Hay  oh  doodle  may  day 

Bake  my  bread  and  carry  my  water. 
Hay  oh  doodle  may  day 
Get  your  gun  and  we'll  go  hunting, 
Hay  oh  doodle  may  da\-. 

I 

'Sourwood  Mountain.'  .X  fragment  reported  by  Dr.  Brown  as  follows : 
"Tiie  lines  of  Sourwood  Mountains  arc  frc(|uently  affected  1)\'  local  cur- 
rent events.  For  instance,  I  heard  a  man  witli  newly  acciuired  religion 
singing— 

^  "Mountains"  is  written  "mounts"  in  Ijoth  i)laccs,  doubtless  merely  a 
slip  of  the  pencil. 


F  0  I.  K      1.  N    K  1  C  285 

The  chickc'ncy  crow  011  I  he  Sourwdod  .Mountains 

You  better  be  gittin'  away. 

Or  the  (le\il  is  sure  a-goin'  to  git  you 

Long  'tore  the  Judgement  Day." 

Not  perhaps  assignable  witli  certainty  to  'Sourwood  ^b)untain' 
yet  clearly  akin  to  versions  G  and  H  above  are  the  following 
fragments. 

J 
'Old    .Man,    Old    Man.'      Reixirtcd    in    July    \')22.   by    Miss    Jennie    IV-ivin 
of  Durham. 

'Old  man,  old  man,  what'll  you  take  for  your  daughter?' 

'Fifteen  cents,  a  dollar  an'  a  cjuarter. 

Take  her  an'  go, 

And  I  don't  want  to  catch  her  in  town  no  more.' 

K 

'Song.'     From  Miss  Mamie  E.  Cheek  of  Durham.     No  date  given. 

'(  )ld  man,  old  man,  I  want  your  daughter.' 

'Well,  you  can  have  her  for  a  dollar  and  a  (|uarter.' 

252 
Pretty  Saro 

A  favorite  song  in  the  South,  and  carried  thence  to  the  Midwest. 
It  is  reported  as  traditional  song  from  Virginia  (SbarpK  11  12, 
SCSM  327-8,  FSV  89-90),  Kentucky  (Shearin  22),  North  Carolina 
(SharpK  11  10,  11,  SCSM  327,  JAFL  xlv  i  12-13,  FSSH  283), 
Georgia  (SharpK  11  11-12),  Mississippi  (FSM  164-5),  the  Ozarks 
(OFS  IV  222-4),  Indiana  (BSI  362),  and  Iowa  (MAFLS  .x.xix 
106-7).  Mrs.  Steely  found  it  in  the  Ebenezer  community  in  Wake 
county.     The  author — if  it  had  one — has  not  been  discovered. 

A 

'Pretty   Saro.'     From   Miss   Pearle   Webb,   Pineda,   Avery  county.     Not 
dated. 

I      When  first  to  this  country  a  stranger  I  came, 

I  placed  my  affections  on  a  handsome  vonng  dame. 

I  looked  all  around  me,  and  I  was  alone 

And  a  i)oor  stranger  and  a  long  way  from  home. 

Chorus: 

Oh,  Saro,  i)retty  Saro,  I  love  you,  I  know, 
I  love  you,  pretty  Saro,  wherever  1  go ; 
No  tongue  can  express  it,  no  poet  can  tell 
How  trtdy  T  love  you,  oh.  I  love  you  so  well. 


286  X  0  K  T  H      C  A  R  0  L  I  N  A      FOLK  I,  O  R  E 

2  Down  in  some  lonely  valley,  in  some  lonely  place. 
Where    the    small    birds    are    singing    and    the    notes    to 

increase 
The  thoughts  of  pretty  Saro  so  neat  and  complete. 
I  want  no  h^etter  pastime  than  to  be  with  my  sweet. 

3  (^h,  1  wish  1  was  a  poet  and  could  write  some  tine  hand; 
I  would  write  my  love  a  letter  that  she  might  understand 
And  send  it  by  the  waters  where  the  island  overflows. 
And  think  of  pretty  Saro  wherever  I  go. 

4  Mv  love  she  don't  love  me.  as  I  understand, 
She  wants  some  freeholder,  and  1  have  no  land. 
Ikit  1  can  maintain  her  with  the  silver  and  gold 

And  all  the  pretty  tine  things  that  mv  love's  house  can 
hold. 


3 


Oh.  Saro.  pretty  Saro.  1  must  let  you  know 
How  truly  I  love  you — 1  never  can.  though  ; 
No  tongue  can  express  it.  no  poet  can  tell 
How  truly  I  love  you.  I  love  you  so  well. 

6  It's  not  the  long  journey  I'm  dreading  to  go 

Nor  leaving  of  this  country  for  the  debts  that  I  owe; 
There  is  but  one  thing  that  troubles  my  mind. 
That's  a-leaving  jiretty  Saro.  my  true  love,  behind. 

7  Farewell,  my  dear  father,  likewise  my  mother  too, 
I'm  a-going  to  ramble  this  country  all  through. 
And  when  I  get  tired.  I'll  sit  down  and  weep 
And  think  of  pretty  Saro  wherever  she  be. 

8  ( )h.  1  wish  I  was  a  little  dcjve.  had  wings  and  could  fly. 
Straight  to  my  love's  bosom  this  night  I'd  draw  nigh 
And  in  her  little  small  arms  all  night  I  would  lay 

And  think  of  pretty  Saro  till  the  dawning  of  day. 

9  I  love  you,  pretty  Saro,  I  lo\e  you,  I  know, 
I  love  you,  pretty  Saro,  wherever  I  go. 

On  the  banks  of  the  ocean  and  the  mountain's  sad  brow 
I  loved  you  then  dearly,  and  I  love  you  still  now. 


'Pretty  Saro.'  KeixDrted  by  Thomas  Sniitli  of  Zionvillc  as  sung,  in 
January  1915,  by  Mrs.  Polly  kayfield  of  Silvt-rstoiK',  Watauga  county, 
who  liad  heard  it  sung  over  fifty  years  earlier.     W'itli  tiie  tune. 

1      I'retty  Saro,  i)relty  .Saro,  1  love  you,  I  know. 
1  love  vou  so  dearly  1  never  can  show. 


K  ()  L  K      I.  N'  K  1  C  287 

J     On  the  banks  of  dd  Cow  if.  on  the  hanks  nf  said  hrow,^ 
1  k)ved  yon  dearly,  and   1  l(i\e  Non  still  now. 

j^     Down  in  some  lonely  valley,  in  some  lonely  place, 
1  hear  small  hirds  singing  their  notes  to  increase. 

4  It    makes    me    think    of    ]M-etty    .Saro,    her    ways    were    so 

complete. 

5  It's  iK)t  this  long  jonrney  that  tronhles  my  mind. 
Nor  the  country   I'm  leaving  hehin<l. 

6  JMy  true  love  won't  have  me,  so  1  understand  ; 
She  wants  a  freeholder,  and  1  have  no  land. 

7  Whenever  I  get  tired  1  set  down  and  weep 
And  think  of  pretty  Saro  wherever  1  he. 

253 
Old  Smoky 

In  content  this  Is  a  combination  of  'The  Inconstant  Lover'  and 
'The  Wagoner's  Lad,'  with  an  echo  of  "Courting  Too  Slow"  in  the 
opening  stanza  of  A  and  the  eleventh  stanza  of  C.  But  tlie  per- 
sistence of  the  name  of  the  mountain  seems  to  justify  treating  it 
as  a  distinct  song.  Like  'Pretty  Saro'  it  belongs  to  the  Southern 
mountains  but  has  moved,  in  one  case  at  least,  out  to  the  Midwest. 
It  is  reported  as  traditional  song  from  Virginia  (SCSM  276-7). 
Kentuckv  (BKH  1 19-20),  North  Carolina  (JAFL  xxviii  159.  xlv 
105-7,  SCSM  278-9,  SSSA  2-3.  FSSH  273-4.  BMFSB  28-9). 
Georgia  (JAFL  xlv  105-7,  FSSH  275),  and  Illinois  (TSSI  236-8). 

A 
'Old  Smokey.'     Obtained  from  Frank  Proftitt  of  Sugar  Grove,  Watauga 
county,  in  August  1937. 

1  On  the  top  of  Old  Smokey, 
All  covered  in  snow, 

I  lost  my  true  lover 
By  courting  too  slow. 

2  Courting  was  pleasure. 
But  parting  was  grief. 
A  false-hearted  lover 
Is  worse  than  a  thief. 

3  A  thief  he  will  rob  you 
And  take  what  you  save. 
But  a  false-hearted  lover 
IMace  you  in  the  grave. 

^  The  final  stanza  of  text  A  sliows,  perliaps,  lunv  this  should  read. 

N.C.I'.,  \'.>1.   II L   (Jl) 


288  NORTH  CAROLINA  FOLKLORE 

4  The  <^rave  will  decay  you 
And  turn  you  to  dtist. 
Not  a  boy  in  ten  thousand 
That  a  jioor  girl  can  trust. 

5  They  will  tell  you  they  love  you 
To  give  }'our  heart  ease. 

And  when  your  back's  turned  upon  them 
They'll  court  whom  they  please. 

6  It's  raining,  it's  hailing. 
The  moon  gives  no  light. 
Your  horses  can't  travel 
This  dark  stormy  night. 

7  So  put  up  your  horses 
And  feed  them  some  hay. 
Come  and  sit  here  beside  me 
As  long  as  you  stay. 

8  'My  horses  ain't  hungry. 
They  won't  eat  your  hay. 
I'll  drive  on,  my  true  love, 
And  feed  on  my  way.' 

9  As  sure  as  the  dew  drops 
Fall  on  the  green  corn 
]\Iy  lover  was  with  me ; 
But  now  he  is  gone. 

lo     So  back  to  Old  Smokey, 
Old  Smokey  so  high, 
\\'here  the  wild  birds  and  tiu-tlc  doves 
Can  hear  my  sad  cry. 


'On  Top  of  Old  Smokie."  Sent  to  Miss  Constance  Patten,  Duke  Uni- 
versity, by  Lillie  Rhinehart  in  1936.  The  first  six  stanzas  are  the  same 
as  in  A  except  for  negligible  verbal  variations.  In  the  remaining  six 
stanzas  the  order  is  difi^erent  and  two  new  stanzas  are  introduced  : 

7     I  am  back  to  old  .Smokie, 
( )1(1  .Smokie  so  high. 
Where  the  wild  birds  and  turtle  doves 
Can  hear  my  sad  cry. 

S     .\s  sure  as  the  dew  drops 
Falls  on  the  green  corn 
Last  night  he  was  with  me; 
But  tonight  he  is  gone. 


I"  ()  I.   K      I.  \    K   I  C  289 


9     'C\)nu\  put  up  your  horses 
And  feed  them  some  hay 
And  sit  down  beside  me 
As  long-  as  you  stay.' 

10  'My  horses  is  not  hungry 
And  they  won't  eat  ycjur  hay. 
So  farewell,  my  true  love, 

I'll  s})eed  on  my  way. 

11  A\'hen  I  get  to  Old  Smokie 
I'll  write  you  my  mind. 

My  mind  is  to  marry 
And  leave  you  behind. 

12  'Your  parents  are  against  me 
And  mine  are  the  same  ; 

So  farewell,  my  true  love, 
I'll  be  on  my  way.' 


'Old  Smoky.'  Copied  from  a  manuscript  in  the  po.ssession  of  01)adiah 
Johnson  which  bore  tliis  note :  "Words  by  Phebe  P)enfield.  Crossnore ; 
sung  by  Anne  Johnson  to  the  tune  of  'Little  Mohee.'  "  But  Johnson  also 
sang  it  himself,  July  14,  1940.  The  te.xt  is  the  same  as  A  so  far  as  A 
goes,  with  negligible  verbal  variations ;  then  the  following  lines  are 
added : 

1 1  A\'ay  down  on  old  Smoky,  all  covered  with  snow, 
I  lost  my  blue-eyed  boy  by  courting  too  slow. 

12  I  wrote  him  a  letter  of  roses  and  lines; 
He  sent  it  back  to  me,  all  twisted  and  twine. 

13  He  says  keep  your  love  letters,  and  I'll  keep  mine. 
You  write  to  your  true  love  and  I'll  write  to  mine. 

14  I'll  go  to  old  (Georgia,  I'll  write  you  my  mind; 
Mv  mind  is  to  marry  you  and  leave  you  behind. 

D 

'Old  Smoky.'  Obtained  from  Zilpah  Frisbie  of  McDowell  county  in 
1923.  A  somewhat  reduced  form  corresponding  to  stanzas  1-4  and  7-8 
of  A  and  ending  thus  : 

Your  parents  are  against  me,  mine  are  the  same ; 
So  down  on  your  book,  love,  please  mark  off  my  name. 
On  top  of  old  Smoky  on  a  mountain  so  high. 
Where  the  wild  birds  and  turtle  doves  may  hear  my  sad 
crv. 


290  NORTH  CAROLINA  FOLKLORE 

E 

'Old  Smoky."  From  Mrs.  Sutton,  without  notation  of  where  or  from 
whom  she  got  it.  The  same,  with  slight  verbal  variations,  as  stanzas  i, 
2,  3,  7,  8  of  A. 


'Old  Smoky.'     From  the  manuscript  book  of  songs  of  Miss  Edith  Walker 
of  Boone,  Watauga  county.     The  text  is  the  same  as  E. 


'On  Top  of  the  Smokies  All  Covered  with  Snow.'  From  the  John  Burch 
Blaylock  Collection,  made  in  Caswell  and  adjoining  counties  in  1927-32. 
Nine  stanzas,  of  which  the  first  eight  correspond,  with  slight  variations, 
to  stanzas  1-8  of  A  and  the  ninth  is  stanza  12  of  B. 

254 
Little  Sparrow 

This  lyric  of  the  lovelorn  is  a  favorite  in  the  Southern  moun- 
tains. See  BSM  477  and  add  to  the  references  there  given  Vir- 
ginia (FSV  80-1).  Florida  (SFLQ  viii  172-3),  Missouri  (OFS  i 
315-17),  and  Indiana  (SFLQ  in  205,  BSI  328).  It  is  often  called 
'Come  all  you  fair  and  tender  ladies,'  from  its  opening  line.  It  is 
distinguished  from  other  songs  of  a  like  spirit,  such  as  'The  Incon- 
stant Lover,'  by  the  image  of  the  bird  and,  generally,  by  the  likening 
of  love  to  a  fair  dawn  that  turns  into  bad  weather.  One  of  the 
following  texts  is  marked  by  a  trace — rare  in  American  tradition — 
of  the  old  English  'Seeds  of  Love'  sons:. 


'The   Little   Sparrow.'     Contributed   by  J.   W.   Miller  of   Lincoln   county 
as  "sung  by  a  woman  in  1907." 

T      Come  all  ye  fairer  tender  ladies. 

Take  warning  how  you  love  young  men ; 
For  they're  like  a  star  in  the  summer  morning. 
They  are  here  but  soon  are  gone  again. 

2  For  once  I  had  an  untrue  lover 
Which  I  claimed  to  be  my  own. 

He  went  right  away  and  loved  another, 
Leaving  me  to  weep  alone. 

3  If  I  had  known  before  I  loxed  him 
That  his  Ujve  was  false  to  me 

T  would  have  locked  my  heart  with  a  key  of  golden 
And  ])inne(l  it  there  with  a  silver  pin. 

4  Oh,  if  I  were  a  little  sparrow 
And  I  had  wings  to  fly, 

I'd  f\y  right  away  to  my  true  love's  window, 
I'd  listen  what  he  told. 


K  O  L   K      I.  N    U   1  C  291 

5      I  hit  then  as  it  is  I'm  no  little  sparrow. 
Neither  have  1   wings  to  Hy. 
So  I'll  sit  right  down  in  ni\-  griel   and  sorrow, 
ril  sit  here  till   1  die. 

H 

'Little  Sparrow.'  Repurti'd  l)y  .Mrs.  Sutton  from  tlie  sint;iiiK  of  Myra 
Barnett,  and  therefore  prol)al)iy  to  he  dated  in  the  first  deeade  of  the 
present  century,  it  is  suhstantialiy  liki-  ,\,  yet  (Hfifcrs  in  details  inter- 
estingly. 

1  Come  all  ye  fair  and  tender  ladies, 
Be  careful  how  you  court  young  luen. 
They're  like  bright  stars  in  a  summer  morning, 
Thev  tirst  are  here  and  then  they're  gone. 

2  They'll  tell  to  yon  some  tender  story, 
Declare  to  you  that  they  are  true. 

Then  straightaway  go  and  court  some  other. 
And  that's  the  love  they  have  for  you. 

3  Oh.  love  is  sweet  and  love  is  charming 
And  love  is  plea.sant  when  it's  new. 

But  love  grows  cold  as  love  grows  older, 
And  fades  away  like  the  mountain  dew. 

4  I  wish  that  I'd  a  never  seen  him. 
Or  that  I'd  died  when  I  was  young. 
To  think  a  fair  and  handsome  lady 
Was  stricken  by  his  lying  tongue ! 

5  I  wish  1  was  a  little  sparrow, 

Had  wings,  and  oh !  could  fly  so  high. 
I'd  fly  away  to  my  false  lover 
And  when  he'd  ask,  I  would  deny. 

6  Alas,  I  am  no  little  sparrow. 

No  wings,  and  cannot  fly  so  high. 
I'll  sit  me  down  in  grief  and  sorrow 
And  try  to  pass  my  trouble  by. 

c 

'Come  All  You  Fair  and  Tender  Ladies.'  Another  text  contriljuted  by 
Mrs.  Sutton,  obtained  probably  several  years  later  than  B.  It  seems  to 
be  incomplete,  but  is  interesting  by  reason  of  its  variations  from  B. 
especially  its  last  two  lines,  whicli  hark  back  to  the  old  English  love 
song  'Seeds  of  Love.' 

1      Come  all  you  fair  and  tender  ladies. 
Be  careful  how  you  court  young  men. 
They  are  like  bright  stars  of  a  summer's  morning; 
Thev  first  are  here  and  then  they're  gone. 


292  NORTH     CAROLINA     FOLKLORE 

2  They'll  tell  to  you  some  lovin'  story, 
Declare  to  you  that  they  are  true, 
And  then  they'll  go  and  court  another 
And  that's  the  love  they  have  for  you. 

3  I  wish  I  was  a  little  sparrow, 

Had  wings  and  could  fly  oh,  so  high. 
I'd  fly  into  my  true  love's  dwellin' 
And  as  he  called  I'd  he  close  hy. 

4  But  as  it  is  I  am  no  sparrow. 
Neither  have  wings  can  fly  so  high, 
I'll  sit  me  down  in  grief  and  sorrow 
And  try  to  pass  my  trouhle  hy. 

5  If  I  had  a  known  before  I  courted 
That  love  would  a  been  so  hard  to  gain 
I'd  a  put  my  heart  in  golden  boxes 
And  a  locked  it  with  a  silver  chain. 

6  Of  all  the  herbs  that  grow  in  the  garden 
Be  sure  to  get  the  rue  and  thyme.     .     .     . 

D 

'Come  All  Ye  Fair  and  Tender  Ladies.'  As  sung  by  Obadiah  Johnson 
of  Crossnore,  Avery  county,  in  July  1940.  With  the  tune.  There  arc 
two  copies  of  his  text,  the  longer  of  which,  six  stanzas,  ends  somewhat 
truculently  : 

I  hope  there  is  a  day  a-coming 
When  my  lover  I  shall  see. 
I  hope  there  is  a  place  of  torment 
To  punish  my  love  for  denying  me. 

E 

'Come  All  Ye  Extanded  Fair  Ladies.'  From  Macie  Morgan,  Stanly 
county.  A  very  much  confused  text,  metrically  and  otherwise,  but  it  does 
not  contain  anv  elements  not  found  in  A  or  B. 


'A  Wish.'  From  W.  Amos  Abrams  of  Boone;  not  dated,  but  prob- 
ably some  time  in  the  iy30s.  One  of  the  comiK)sites  so  often  found  in 
folk  lyric.  The  second,  third,  and  fifth  stanzas  lielong  to  "Tiie  Butcher 
Boy,'  the  first  stanza  is  from  'Little  Sparrow.' 

1  I  wish  I  was  a  little  sparrow  ; 

I'd  fly  away  from  sin  and  sorrow, 

I'd  fly  away  like  a  turtle  dove, 

I'd  fly  in  the  arms  of  my  true  love. 

2  In  yonder  lands  there  is  a  home. 

They  say  that's  where  my  true  love's  gone. 


r  o  L  K    I.  \-  i<  1  c  293 

lUit  there's  a  t^irl  sits  on  his  knee. 

(  )h,  don't  \'on  know  that's  ^rief  to  nie  ? 

3  It's  grief  to  me,  U!  tell  my  why,' 
Because  she  has  more  gold  than  1. 
But  her  gold  will  melt,  her  silver  fly  ; 
She'll  see  the  day  she's  poor  as  I. 

4  Oh.   1  wish.   I  wish,  hnt   1  wish  in  vain. 
That  he'd  C(.)me  hack  to  me  again. 

But  now  he['s|  gone,  left  me  alone. 
Poor  orphan  girl  without  a  home. 

5  Go  dig  my  grave  hoth  wide  and  deep. 
Place  a  marhle  stone  at  my  head  and  feet 
And  on  my  hreast  place  a  turtle  dove 
To  testify  that  I  died  of  love. 

255 
Kitty  Kline 

(3f  this  sonj?  Louise  Rand  Bascom  remarks  that  it  is  "the  ballad 
which  is  most  universally  known"  in  western  North  Carolina;  that 
it  "might  be  called  the  national  song  of  the  highlanders."  She  also 
notes,  what  is  evident  in  our  texts,  that  it  has  "as  many  ver- 
sions as  there  are  singers"  (JAFL  xxii  240).  It  is  in  fact  an 
outstanding  example  of  that  type  of  folk  lyric  which  picks  up 
motives,  recombines  them,  drops  them,  takes  up  others,  until  it  is 
hardly  possible  to  say  whether  a  given  text  is  to  be  reckoned  a 
form  of  a  particular  song  or  not.  Thus  the  first  of  the  two  texts 
given  by  Miss  Bascom  (JAFL  xxii  240-1)  does  not  contain  the 
name  'Kitty  Kline'  at  all.  Two  themes  are  fairly  constant:  the 
"take  me  home"  theme  (sometimes  combined  with  elements  from 
'The  Lass  of  Roch  Royal')  and  the  "free  little  bird"  theme.  Miss 
Bascom  thought  that  the  song  belonged  peculiarly  to  the  Tennessee- 
North  Carolina  mountain  region.  Besides  her  texts  (reproduced 
here  for  the  sake  of  completeness)  it  has  been  reported  from  east 
Tennessee  by  Perrow  (JAFL  xxvi  134)  and  by  Isabel  Gordon 
Carter  (JAFL  xlvi  49).  and  Mrs.  Steely  found  it  in  the  Ebenezer 
communitv  in  Wake  countv.  But  Randolph  reports  clear  traces  of 
it  from  the  Ozarks  (OFS  iv  156-8.  188). 

A 

'Kitty   Kline'     Louise  Rand  Bascom  in  JAFL  xxii    (1909)    240-1. 

I      Take  me  home,  take  me  home,  take  me  home, 
Take  me  home,  take  me  home,  take  me  home. 
When  the  moon  shines  bright,  and  the  stars  give  light. 
Take  me  home,  take  me  home,  take  me  home. 

^  Texts  of  'The  Butcher  Boy'  show  tliat  this  line  should  run  'It's  grief 
to  me.  I'll  ttil  you  why.' 


294  \  ()  R  T  H     CAROLINA     F  O  L  K  L  0  R  K 

2  'Oh.  who  will  shoe  your  little  feet. 
Oh,  who  will  glove  your  little  hand. 
Oh,  who  will  kiss  your  sweet  rosy  cheek 
W  lien  I'm  gone  to  that  far-distant  land?' 

3  'Oh,  Pop])er'll  shoe  my  little  feet. 
And  Mommer'll  glove  my  little  hand. 
And  you  shall  kiss  my  sweet,  rosy  cheek, 
When  you  come  from  that  far-distant  land. 

4  'Oh.  I  can't  stay  hyar  hy  myself. 
Oh,  I  can't  stay  hyar  by  myself. 

I'll  weep  like  a  wilier,  an'  I'll  mourn  like  a  dove. 
Oh,  I  can't  stay  hyar  by  myself. 

5  'If  I  was  a  little  fish 

1  would  swim  to  the  bottom  of  the  sea, 
And  thar  I'd  sing  my  sad  little  song. 
Oh.  I  can't  stay  hyar  by  myself. 
'Oh.  I  can't  stay  hyar  by  myself,  etc. 

6  "If  I  was  a  sparrer  bird, 

I  would  fly  to  the  top  of  a  tree. 
And  thar  I'd  sing  my  sad  little  song, 
Oh,  I  can't  stay  hyar  by  myself. 
"Oh.  1  can't  stay  hyar  by  myself,  etc. 

7  'Yonder  sets  a  turtle-dove. 
A-hoppin'  from  vine  to  vine. 

He's  a-mournin'  fur  his  own  true  love, 
An'  why  not  me  fur  mine  ? 

S     'I'm  a-goin'  ter  the  top  of  that  nigh  pine, 
I'm  a-going'  ter  the  top  of  that  nigh  pine, 
An'  ef  I  fall  'thout  breakin'  my  neck. 
You'll  know  who  I  love  the  best.' 

B 

'Kitty   KliiK-.'       Miss   I'ascom's  second  text.  JAFL   xxu  241. 

I      Take  me  home  to  my  Mommer.  Kitty  Kline, 
Take  me  home  to  my  Mommer,  Kitty  Kline, 
When  the  stars  shine  bright,  and  the  moon  gives  light. 
Take  me  home  to  my  Mommer.  Kittv  Kline. 

2     Take  me  home  to  my  Mommer,  Kittv  Kline, 
Take  me  home  to  my  Mommer.  Kitty  Kline. 
With  my  head  ui)on  your  breast  like  a  birdie  in  its  nest, 
Take  me  home  to  mv  Mommer,  Kittv  Kline. 


r  o  L  K    I.  V  R  I  c  295 

3      I'm  as  tree  a  little  bird  as  1  can  be, 
I'm  as  free  a  little  bird  as  1  can  be, 
I'll  build  my  nest  on  sweet  Kitty's  breast, 
W'liar  tbe  bad  boys  can't  tear  it  down. 
Take  me  liome  to  my  Mommer,  etc. 

The  ballad  then  proceeds  as  in  versinn  A  until  after  the  stanza  about 
the  "sparrer"  bird,  when  tlicse  stanzas  are  added : 

7  If  1  was  a  honey-bee, 

I'd  dip  the  honey  from  the  flowers. 
An'  I'd  fly  an"  sing  my  sad  little  song, 
I  can't  stay  hyar  by  myself. 

8  So  fare  ye  well,  Kitty  Kline, 
So  fare  ye  well,  Kitty  Kline, 

You  shall  wear  my  gold-diamont  ring. 
When  I'm  in  a  far-distant  land. 

c 

'Katy  Cline."  From  Thomas  Smith  of  Zionville,  Watauga  countj\  in 
1915,  with  the  note  that  these  "are  all  the  words  I  have  been  able  to 
obtain  of  this  song.  It  has  been  played  on  the  fiddle  and  picked  on  the 
banjo  here  for  probably  90  years." 

1  Oh,  say  that  you  love  me,  Katy  Cline, 
Oh,  say  that  you  love  me,  Katy  Cline, 

Oh,  say  that  you  love,  you  sweet  turtle  dove, 
Oh,  say  that  you  love  me,  Katy  Cline. 

2  If  I  was  a  little  bird,  little  bird. 
If  I  was  a  little  bird 

I'd  build  my  nest  in  sweet  Katy's  breast 
Where  the  bad  boys  wottld  never  bother  me. 

D 

'Katy  Kline.'  Obtained  from  Miss  Florence  Shuman,  Black  Mountain, 
Buncombe  county,  in  1920. 

1  Oh,  say,  don't  you  love  me.  Katy  Kline  ? 
Oh,  say,  don't  you  love  me.  Katy  Kline? 

If  you  love  me.  Katy  Cline.  ])ut  your  little  hand  in  mine. 
Oh.  say,  don't  you  love  me.  Katy  Kline? 

2  Say  vou  call  me  a  dog  when  I'm  gone. 
Say  you  call  me  a  dog  when  I'm  gone  ; 
But  when  I  return  with  a  ten  dollar  l)ill. 
It's  'llonev.  where  you  been  so  long?' 

E 

'Katy  Kline.'  From  (iertrude  Allen  (later  Mrs.  \aught).  Taylorsville. 
.\lexander  county. 


296  NORTH  CAROLINA  FOLKLORE 

Oh,  say  that  you  love  me.  Katy  Khne,  Katy  KHne, 
Oh,  say  that  you  love  me,  Katy  Kline. 
Oh,  say  that  you  love  me,  that  you  will  he  mine. 
Oh,  say  that  you  love  me,  Katy  Kline. 

F 

'I'm  as  Free  a  Little  Bird  as  I  Can  Be.'  From  .Miss  Maude  Minnish  ; 
not  dated,  but  before  she  became  ]\Irs.  Sutton  and  therefore  before  June 
1923.  She  does  not  say  from  whom  she  got  it,  but  notes  that  it  goes  to 
"a  banjo  tune,  the  lightest  and  tunefullest  imaginable." 

1  I'm  as  free  a  little  hird  as  I  can  he. 
I'm  as  free  a  little  bird  as  I  can  he  ; 

I'll  hang  my  harp  on  a  weeping  willow  tree ; 
I'm  as  free  a  little  bird  as  I  can  be. 

2  Take  me  home,  sweet  Kitty,  take  me  home. 
Take  me  home,  sweet  Kitty,  take  me  home. 
I'll  build  my  nest  in  the  sweet  Kitty's  breast 
Where  the  bad  boys  cannot  trouble  me. 


'I'm  as  Free  a  Little  Bird  as  I  Can  Be.'     Lines  to  accompany  the  tune 
as  set  down  by  Miss  Vivian  Blackstock.     Not  dated. 

I'm  as  free  a  little  bird  as  I  can  be. 

I'll  hang  my  harp  on  a  weeping  willow  tree, 

I'm  as  free  a  little  bird  as  I  can  be. 

H 

'Free  a   Little   Bird."     Sung  by  Tom   Boyd  on   Rabbit   Ham.   Buncombe 
county.     Not  dated. 

1  Take  me  home,  birdie,  take  me  home ; 
Take  me  home  by  the  light  of  the  moon. 

When  the  moon  is  shining  bright  and  the  stars  are  giving 

light. 
Take  me  home  to  my  mamma,  take  me  home. 

Clionis: 

I'm  as  free  a  little  bird  as  I  can  be ; 

I'm  as  free  a  little  bird  as  I  can  be  ; 

I'll  build  my  nest  in  the  weeping  willow  tree 

Where  the  bad  boys  will  never  bother  me. 

2  Oh.  I  wi.sh  I  was  a  little  bird, 
I'd  build  my  nest  in  the  air; 

1  would  fiv  side  by  side  of  my  sweet  Kitty  Clyde 
And  build  in  her  soft  silken  hair. 


FOLK     L  Y  K  I  C  297 

3     I'm  as  free  a  little  bird  as  1  can  l)c  ; 
I'm  as  free  a  little  bird  as  1  can  be; 
I'll  build  my  nest  in  my  sweet  Kitty's  breast 
W'licre  the  bad  boys  will  never  bother  me. 

256 
Ai.i,  Aroi'nd  TiiK  Mountain,  riiARMixr,  I'ktsn' 

The  two  texts  j^iven  below  differ  ratlier  widely,  hut  both  are  no 
doubt  forms  of  one  son.n'.  Louise  Rand  Bascoiu  jjrinted  two  stanzas 
of  it  from  this  state  in  JAFL  xxii  246.  Randolph  found  it  in 
Missouri  (OFS  iii  185-6).  Davis  (FSV  243)  lists  what  are  prob- 
ably (I  have  not  seen  the  texts)  forms  of  it  from  Virj^inia.  The 
Archive  of  American  Folk  Song  has  recordings  under  the  title 
'Charming  Betsy'  from  New  York,  Virginia,  and  Kentucky. 

A 

'Charming  Betty.'  Reported  by  Thomas  Smith  of  Zionville,  Watauga 
county,  in  191 5,  with  the  notation  that  it  "was  popular  in  this  vicinity 
20  or  more  years  ago.  Fiddlers  played  and  sang  it  a  great  deal.  A  good 
fiddler,  Henry  Brinkley  of  Brushy  Fork,  used  to  be  especially  compli- 
mented for  his  skill  in  playing  this  tune." 

1  The  first  time  I  saw  you,  charming  Betty, 
You  was  riding  on  the  train  ; 

The  next  time  I  saw  you,  charming  Betty, 
You  was  wearing  my  gold  watch  and  chain. 

2  Throw  your  arms  around  me,  charming  Betty, 
Throw  your  arms  around  me,  Cora  Lee ; 
Throw  your  arms  around  me,  charming  Betty, 
And  give  this  poor  heart  ease. 

3  I  wrote  you  a  letter,  charming  Betty, 
I  sent  it  safe  by  hand. 

And  when  I  got  the  answer 

You  were  courting  some  other  man. 


'Charming   Betsy.'      As    sung   by   Andy    McGee   of   the    Forks   of    Sandy 
Mush.     Not  dated. 

1  It's  all  arotmd  the  UKjuntain,  charming  lletsy, 
It's  all  around  the  mountain,  Cora  Lee, 
And  if  nevermore  I  see  you, 

Dear  love,  remember  me. 

2  I  hate  to  have  to  leave  you,  charming  Betsy, 
I  hate  to  have  to  leave  you,  Cora  Lee ; 

If  I  nevermore  see  you. 
Dear  love,  remember  me. 


298  NORTH      CAROLINA     F  O  L  K  L  O  K  K 

3     It's  all  around  the  mountain,  charming  Bets\. 
It's  all  around  the  mountain.  Cora  Lee ; 
I'm  going  away,  charming  Betsy, 
And  you'll  nevermore  see  me. 

257 
The  Blue-Eyed  Boy 

One  of  tliose  Protean  folk-lyrics  whose  identity  is  hard  to  lix 
because  they  shift  from  text  to  text,  taking  on  new  elements  and 
dropping  old  ones  from  the  general  reservoir  of  the  folk  fancy. 
What  may  however  fairly  be  called  forms  of  this  song  have  been 
found  in  North  Carolina  '(  BMFSB  50-1  ),  Arkansas  (OFS  iv  262), 
Missouri  (BSM  478-80.  OFS  iv  261),  Indiana  (BSI  339),  and 
Nebraska  (ABS  212-13).  The  two  texts  in  our  collection  illustrate 
its  instability. 

A 
'Blue-Eyed    Boy.'      Comnninicated    by    \V.     Amos    Abrams    of    Boone, 
Watauga    county.      Not    dated.      The    second    quatrain    is    in    Iiis    copy 
marked    "chorus,"   but   one   suspects   that    it    is    really   the    first   quatrain 
that  serves  that  function. 

1  Oh,  bring  me  back  my  blue  eyed  boy. 
Oh,  bring  my  true  love  back  to  me. 
Oh,  bring  me  back  my  blue  eyed  boy 
And  forever  happy  will  I  be. 

2  Must  I  go  bound  while  he  goes  free? 
Or  must  I  act  the  childish  part  ? 
Must  I  love  a  man  that  don't  love  me 
And  marry  the  man  that  broke  my  heart  ? 

3  There  is  a  ring  that  has  no  end. 

It  is  hard  to  find  a  faithful  friend. 
But  when  you  find  one  good  and  true 
Change  not  the  old  one  for  the  new. 

4  There  is  a  tree  I  love  to  pass 

That  sheds  its  leaves  as  green  as  grass ; 
But  none  so  green  as  love  is  true. 
Change  not  the  old  love  for  the  new. 

5  Some  say  that  courting  is  pleasure ; 
But  oh,  what  pleasure  do  I  see? 
For  the  boy  I  love  most  dearly 
Has  now  forsaken  me. 

B 

'HIue-Eyed  Boy.'  This  second  text  is  also  from  Professor  Abrams,  but 
bears  no  date  nor  any  indicatii  n  of  source.  Here  the  right  quatrain  is 
marked  as  chorus. 


K  O  L  K      I.  Y  R  1  C  299 

1  Some  say  that  low  is  pleasure. 
But  no  pleasiu'e  do  I  see  ; 

I^'or  the  only  hoy  I  ever  loved 
Has  gone  s(|uare  haek  on  nie. 

Chorus: 

( )h.  hrins,^  me  hack  my  darling.  * 

(  )h,  hring  him  hack  to  nie. 
Uh.  hring  me  hack  my  darling; 
He's  all  the  world  to  me. 

2  There's  many  a  change  in  seasons, 
Uh.  there's  many  a  change  in  sea  ; 

And  there's  many  a  change  in  a  young  man's  heart ; 
But  there's  no  change  in  me. 

3  Last  night  he  came  to  see  me ; 
Last  night  he  smiled  on  me. 

But  tonight  he's  with  another  girl — 
He  cares  no  more  tor  me. 

4  ( )h,  don't  you  rememher 
That  night  long,  long  ago 

\\  hen  he  asked  me  to  be  his  hride 
Of  course  I  answered  No. 

5  He's  gone,  though,  now.     God  bless  him, 
He's  mine  where'er  he  he. 

He  may  roam  this  wide  world  o'er  and  o'er 
But  he'll  find  no  girl  like  me. 


^50 
The  False  True-Lover 

Among  the  song- fragments  that  float  in  the  consciousness  of  folk 
singers  ready  to  be  incorporated  into  the  song  of  the  moment  a 
favorite  is  that  dialogue  of  lovers'  parting  from  'The  Lass  of  Roch 
Royal '^  beginning  "Oh,  who  will  shoe  your  pretty  foot,  and  who 
will  glove  your  hand?"  This  has  already  appeared  as  part  of  one 
of  the  texts  of  'Kitty  Kline.'  above.  It  is  part  of  at  least  four 
other-  songs  in  North  Carolina,  of  which  the  present  item  is  one: 

^  At  least  it  is  incorporated  in  that  ballad.  Perhaps  even  there  it  has 
merely  been  taken  up  from  the  store  of  lyric  motives  in  the  folk  memory. 

"  It  is  often  hard  to  say  whether  two  texts  are  versions  of  one  song 
or  are  two  separate  songs  that  use  in  part  the  same  material.  The  five 
texts  here  assembled  under  the  title  'The  False  True-Lover' — the  title, 
borrowed  from  the  Missouri  collection,  is  not  used  in  any  of  the  North 
Carolina  texts — are  held  together  not  only  by  the  shoe-and-glove  motive 
but  also  by  the  phrase  "drinking  of  sweet  wine"  in  four  of  them,  "ten 
thousand  miles"  in  three,  the  "stormy  rolls  the  ocean"  stanza  in  two,  the 


300  NORTH  CAROLINA  FOLKLORE 

the  other  three  are  'I'll  Hang  My  Harp  on  a  Willow  Tree,'  'By  By, 
My  Honey,'  and  'Those  High-Topped  Shoes,'  given  later  in  this 
section.  For  its  appearance  elsewhere  in  American  folk  song,  in 
various  combinations,  see  BSM  480  and  Kittredge's  bibliographical 
note  in  JAFL  xxx  304-5. 

A 

'You  Have  Forsaken  Me.'  Reported  by  Thomas  Smith  of  Zionville, 
Watauga  county,  as  sung  by  Clyde  Corum  in  March  1915.  Corum,  a 
young  banjo-picker  of  Zionville,  got  the  song  from  W.  E.  Snyder  of 
Boone,  a  neighboring  town.  "This  song  is  well  known  in  this  section 
and  is  sung  to  two  different  tunes." 

1  It  was  on  a  cold  and  v\^indy  night 

\\  hen  I  was  drinking  of  sweet  wine 
And  thinking  of  my  old  true  love 
\\'ho  stoled  this  heart  of  mine. 

2  'Oh,  fare  you  well,  my  pretty  little  miss. 
Oh,  fare  yoti  well  for  a  while ; 

I'm  going  away,  hut  I'm  coming  hack  again 
If  I  go  ten  thousand  miles.' 

3  'Ten  thousand  miles  away,'  said  she,  'my  love, 
For  I  know  that  never  can  be. 

For  the  parting  of  old  true  love 
Would  be  the  death  of  me.' 

4  'Oh,  who  will  shoe  your  feet,  my  love. 
And  who  will  glove  your  hands, 

And  it's  who  will  kiss  your  sweet  rosy  cheeks 
When  I'm  in  a  foreign  land?' 

5  'My  papa  will  shoe  my  feet, 
Aly  mama  will  glove  my  hands. 

And  you  may  kiss  my  sweet  rosy  cheeks 
W^hen  you  return  again. 

6  'Go  dig  up  the  red  rosebush. 
Plant  otit  the  weeping-willow  tree ; 
For  it's  to  be  seen  by  the  wide  world 
That  you  have  forsaken  me.' 

7  'When  I  forsaken  you.  my  love. 
The  rocks  by  the  sea  shall  meet^ 


turtle-dove  or  its  equivaknt  in  three,  and  the  assertion  that  rocks  will 
meh  and  the  sea  will  burn  and  firo  turn  to  ice  before  be  will  forsake 
his  love  which  appears  with  variations  in  three  of  them.  Two  of  them, 
A  and  D,  have  the  stanza  about  pulling  up  the  rose  bush  and  planting 
the  willow  tree,  and  two  others.  I'  and  C.  the  simile  of  the  instrument 
"just  newly  put  in  tune." 

^  Texts  B  and  E  have  "melt,"  wbicli  is  surely  right. 


FOLK      I.  V  K  1  C  301 

And  the  fire  shall  trceze  to  a  solid  cake  of  ice 
And  the  raging  sea  shall  hum.' 

8  "1  wish  to  the  land'   1  never  had  heen  horn 
Or  'a'  died  when  1  was  young. 

I'd  never  saw  your  sweet  ro.sy  cheeks 
Or  'a'  heard  your  flattering  tongue. 

9  '(  )h.  don't  \'ou  see  that  i)rett\   little  hird 
I'dving  from  vine  to  vine 

And  chirping  there  for  its  old  true  love 
Who  stoled  this  heart  of  mine? 

10  "Oh.  who  will  make  your  l)e(l.  my  love, 
And  who  will  dress  it  neat  ? 

And  it's  who  will  lie  all  in  your  arms 
If  you  no  more  I  see?' 

11  'I'll  take  no  stranger  hy  my  side, 
I'll  keep  no  company, 

I'll  never  enjoy  the  love  of  no  hride 
If  you  no  more  I  see.' 

B 

'As  I  Walked  Out  Last  Christmas  Day."  From  J.  P..  Midgett  of  Wan- 
chese,  Roanoke  Island.  Secured  probal)ly  in  1920.  With  tlie  tune  as 
sung  by  Mr.   (or  Mrs.)   C.  K.  Tillett  in  1922. 

1  As  I  walked  out  last  Christmas  day. 
A-drinking  of  sweet  wine. 

It  was  there  I  spied  that  pretty  little  girl 

That  stold  this  heart  of  mine. 

She  looks  just  like  some  instrument 

That's  just  been  put  in  tune; 

She  looks  just  like  some,  pink  or  a  rose 

That  blooms  in  the  month  of  June. 

2  'Oh,  who  will  shoe  your  feet,  my  love. 
And  who  will  glove  your  hand, 

And  will  kiss  your  rtihy  lips 
While  I'm  in  a  foreign  land?' 
'jVIy  mother  she  will  shoe  my  feet. 
My  father  will  glove  my  hand  ; 
No  man  shall  kiss  my  ruby  lips 
While  you  ['re  I  in  a  foreign  land." 

3  'The  blackest  crow  that  ever  flew 
Shall  in  those  days  turn  white 

If  ever  I  prove  false  to  you 

^   Miswritten  surely  for   "Lord." 


302  NORTH  CAROLINA  FOLKLORK 

Broad  day  shall  turn  to  night ; 

If  ever  I  prove  false  to  you 

The  rock  shall  melt  in  the  sun, 

The  fire  shall  freeze  tell  ever  more  be/ 

And  the  raging  seas  shall  burn.' 

4     'Oh,  don't  you  see  that  turtle  dove 
As  she  flies  from  pine  to  pine  ? 
She's  mourning  of  the  loss  of  her  own  true  love 
Just  like  I  mourn  for  mine. 
I  wish  to  Ciod  that  I  was  dead 
Or  had  died  when  I  was  young. 
I  never  should  have  grieve [d]  or  shed  a  tear 
Over  no  poor  woman  ['s]  son.' 


'Song.'  Communicated  by  Elsie  Doxey  of  Currituck  county.  Not  dateil. 
but  probably  sent  in  some  time  in  the  1920s.  It  belongs  to  the  same 
tradition  as  B,  but  has  interesting  variations. 

1  A-sitting  one  cold  winter  night 
A-drinking  of  sweet  wine, 
A-courting  of  that  pretty  miss 
That  stole  that  heart  of  mine. 

2  She  is  like  some  pink  or  rose 
That  blooms  in  the  month  of  June, 
Or  like  some  musical  instrument 
That  is  newly  put  in  tune. 

3  'Oh,  fare  you  well,  my  dearest  dear. 
Oh,  fare  yoti  well  for  a  while ; 

I'll  go  away,  but  I'll  come  back  again. 
If  I  go  ten  thousand  miles.' 

4  'Oh,  who  will  shoe  my  feet,  my  dear. 
And  who  will  glove  my  hands? 

Or  who  will  kiss  my  ruby  lips 
\\  hen  you're  in  a  foreign  land  ?' 

5  'Your  brother  will  shoe  your  feet,  my  dear, 
Your  mother  will  glove  your  hands  ; 

And  1  will  kiss  your  ruby  lips 
When  I  return  again.' 

6  'Oh.  don't  you  see  that  turtle  dove 
A-flying  from  vine  to  vine  ? 
A-mourning  for  the  loss  of  its  own  true  love 
As  1  shall  mourn  for  mine.' 

^  So    run    the    last    four    words   of    this    line    in    the    manuscript.      I    do 
not  know  how  to  correct  them. 


K  0  I,  K     LYRIC  303 

1) 

'Should  1  I'rcive  False  to  Thfc'  Another  text  reported  l)y  Tiioinas 
Smith  of  Zionville  in  11)15.  The  stanza  marked  "chorus,"  which  it 
shares  with  version  E,  is  found  also  in  quite  different  contexts  in  this 
collection  and  elsewhere;  see  'Storms  Are  on  tlie  Ocean'  and  luadiiote 
thereto,  pp.  311-313  of  the  present  volume. 

1  I  roved.  I  roved  all  winter  night 
A-drinking  of  .sweet  wine, 
A-courting  a  pretty  little  nii.s.s 

W  ho  broke  this  heart  of  mine. 

Chorus: 

Thotigh  storms  may  roll  the  ocean, 
The  heavens  may  close^  to  be, 
This  earth  would  lose  its  motion,  my  love, 
Should  I  i)rove  false  to  thee. 

2  'Oh,  who  will  pull  up  the  rosy  bush 
And  plant  the  weeping  willow  tree  ? 

For  it's  plain  to  be  seen  by  the  wide  world  around 
That  you've  forsaken  me.'- 

3  "(Jh,  who  will  shoe  your  pretty  little  feet. 
And  who  will  glove  your  hands. 

And  who  will  kiss  your  rose-red  cheeks 
When  I'm  in  a  far-ofif  land?' 

4  'My  papa  will  shoe  my  pretty  little  feet. 
My  mama  will  glove  my  hands. 

And  you  may  kiss  my  rose-red  cheeks 
\Mien  vou  return  again.' 


'Who  Will   Shoe   My   Pretty  Little  Feet?'     Sung  by  Mrs.   N.  T.   Byers 
of  Zionville,  Watauga  county,  July  24,   1922.     With  the  tune. 

I      'I'm  going  to  leave  you  now. 
I'm  going  to  stay  for  a  while ; 
But  I'll  return  to  you.  my  love. 
If  I  go  ten  thousand  miles. 

Chorus: 

'Oh.  stormy  rolls  the  ocean. 

The  heavens  may  cease  to  be. 

This  earth  would  lose  its  motion,  my  love. 

Should  I  prove  false  to  thee. 

^  Mis  written,  no  doubt,  for  "cease."  the  reading  of  E  in  this  place. 
-  This  stanza,  which  appears  also  in  A,  carries  a  faint  echo  of  a  song 
beloved  in   England  but  seldom  found  in  America.   'Seeds  of  Love.' 

N  C.F.,  Vol.  HI.  (22) 


304  NM)  R  T  H      CAROLINA     FOLKLORE 

2  'Oh.  who  will  shoe  your  pretty  little  feet, 
And  who  will  glove  your  hands. 

And  who  will  kiss  your  red  rosy  cheeks 
When  I'm  in  the  foreign  land?' 

3  'My  papa  will  shoe  my  pretty  little  feet. 
My  mama  will  glove  my  hands, 

And  you  may  kiss  my  red  rosy  cheeks 
When  you  return  again.' 

4  'Should  I  prove  false  to  thee,  my  love, 
The  rocks  would  melt  by  the  sun 

And  the  fire  would  freeze  in  a  hard  cake  of  ice 
And  the  raging  sea  would  burn.' 

259 
I'll  Hang  My  Harp  on  a  Willow  Tree 

Here  the  shoe-and-glove  stanzas  from  'The  Lass  of  Roch  Royal' 
are  combined  with  the  refrain  of  a  very  familiar  song.  There  is  a 
quite  unauthenticated  legend  that  this  song,  a  very  popular  parlor 
song  of  the  last  century,  was  the  work  of  a  young  British  officer 
who  fell  in  love  with  the  Princess  Victoria  before  she  came  to  the 
throne.  Its  actual  authorship  seems  not  to  be  known.  It  is  re- 
ported as  traditional  song  in  Scotland  (Ord  56-7),  is  listed  in  the 
Sliearin  and  Pound  syllabuses,  and  is  to  be  found  in  several  books 
of   popular   songs — without,   of  course,   the   shoe-and-glove   stanzas. 

A 

'I'll  Hang  My  Harp  on  a  Willow  Tree.'  Contributed  by  Miss  Amy 
Henderson  of  Worry,  Burke  county;  not  dated,  but  at  some  time  before 
igi6.  Note  tbat  the  rhythm  of  lines  i  and  5  has  been  cbanged  from 
that  found  in  these  stanzas  elsewhere. 

1  'Oh  !  who's  going  to  shoe  my  pretty  little  foot,  foot,  foot, 
And  who's  going  to  glove  my  lily-white  hand, 

And  who's  going  to  kiss  my  ruby  lips 
When  you're  in  a  far  distant  land  ?' 

Cliorus: 

Adieu,  kind  friends,  adieu,  adieu. 
I  stay  no  longer  here  with  you. 
I'll  hang  my  harp  on  a  willow  tree 
And  go  for  the  fellow  that  goes  for  me. 

2  'My  Pa's  going  to  shoe  my  pretty  little  foot,  fool,   foot. 
My  Ma's  going  to  glove  my  lily-white  hand; 

I  know  who'll  kiss  my  ruby  lips 
When  I'm  in  a  far  distant  land.' 


!••  0  L  K      I.  ^•  K   I  C  305 


'I'll   Hang  My  Harp  uii  a  Willow  Tri'i.'.'     Cnntriliutod  by   I.  (].  (irccr  of 
I'xidiK-,  Watauga  county.      The  chorus  onl.\.     \\  ith  tlir  music. 

I'll  lians^"  my  harp  t)n  a  willow  tree. 
.Vdic'u,  kind  friends,  adieu,  adieu. 
I'll  liaui;  ni\-  harp  on  a  weeping  willow  tree 
And  n)a\'  llie  world  ^o  well  witli  thee. 

260 
Red  Rtnkr  Valley 

This  is  (|uite  distinct  from  'Tlie  Red  River  Sliore,'  for  which  see 
the  headnote  to  'New  River  Shore.'  That  is  a  hallad,  tells  a  story; 
this  is  simply  a  girl's  grief  at  her  lover's  departure.  It  is  known 
in  Virginia  (FSV  96),  Kentucky  (BTFLS  iii  93,  ASb  130-1), 
Tennessee  (ETWVMB  82-3).  the  Ozarks  (OFS  iv  201-4),  Michi- 
gan (BSSV  482),  and  Iowa  (MAFLS  xxix  74-5).  Mrs.  .Steely 
found  it  in  the  Ebenezer  community  in  Wake  county.  The  North 
Carolina  texts  differ  chiefly  by  omitting  or  including  certain  stanzas. 

A 

'Sherman   X'alley."     From   the   manuscript  hook  of  songs   of   Miss   Edith 
Walker,  Boone,  Watauga  county.     Secured  in  1936. 

1  From  this  valley  they  tell  me  you  are  going. 
How  I'll  miss  your  blue  eyes  and  bright  smiles ! 
For  you  carry  with  you  all  the  sunshine 

That  has  brightened  my  path  for  a  while. 

Clionts: 

Let's  consider  a  while  ere  you  leave  me. 
Do  not  hasten  to  bid  me  adieu. 
But  remeiuber  the  bright  Sherman  X'alley 
And  the  girl  who  has  loved  you  so  true. 

2  When  you  are  far  from  this  scene  of  the  valley 
And  they  tell  me  your  journey  is  through. 
Will  you  think  of  the  home  you  are  leaving 
And  the  girl  who  has  loved  you  so  true? 

3  I  have  waited  a  long  time,  m\-  darling. 
For  the  word  you  never  would  say. 
But  alas,  my  poor  heart  it  is  breaking. 
For  they  tell  me  you  are  going  away. 

4  Do  vou  think  of  the  home  you  are  leaving, 
How  lonely  and  dreary  it  will  be  ? 

Do  you  think  of  the  fond  heart  you  are  breaking 
And  the  girl  who  has  loved  vou  so  true? 


306  NORTH  CAROLINA  FOLKLORE 

B 

'Sherman  Valley.'  Contributed  by  Miss  Addie  Hardin  of  Rutherwood, 
Watauga  county,  in  July  1922.  \\'ith  the  tune.  The  chorus  as  in  A ; 
stanzas  i  and  2  correspond  to  stanzas  i  and  3  of  A  ;  stanzas  3  and  4 
are  as  follows : 

3  Oh.  think  of  the  home  you  are  leaving 

And  the  friends  who  have  loved  }ou  so  true ; 
Oh.  think  of  the  heart  you  are  breaking 
And  the  shades  you  are  casting  over  me. 

4  You  may  go,  you  may  go,  God  bless  you, 
You  may  roam  over  land  and  o'er  sea, 
You  may  roam  this  wide  world  over. 
But  you'll  find  no  other  friend  like  me. 

c 
'The  Red  River  Valley.'     Obtained   from   Mrs.   Minnie  Church,  Heaton, 
Avery  county,  in   1930.     Four  stanzas,  corresponding  to  stanzas   i,  4,  3, 
and  chorus  of  A  but  with  "Red  River"  in  place  of  "bright  Sherman." 

D 

'Little  Lonely  \'alley.'  Obtained  from  O.  L.  Coffey  of  Shull's  Mills, 
Watauga  county,  in  1939.  Chorus  as  in  A  but  with  "little  lonely"  in 
place  of  "bright  Sherman";  stanzas  i,  2,  3,  and  5  correspond  to  stanzas 
I,  4,  3,  and  2  of  A ;  stanza  4  corresponds  to  stanza  4  of  B. 

E 
'Red  River  Valley.'  From  the  John  Burch  Blaylock  Collection,  made  in 
Caswell  and  adjoining  counties  in  the  years  1927-32.  Five  stanzas,  the 
first  four  of  which  correspond,  with  minor  variations,  to  stanza  i,  chorus 
(with  "Red  River"  in  place  of  "bright  Sherman"),  stanza  4.  and  stanza 
3  of  A.    The  fifth  stanza  is  not  in  A  : 

5  When  I'm  dead  and  gone  from  you,  my  darling, 
Never  more  on  this  earth  to  be  seen. 

There  is  just  one  little  favor  I  ask  you; 
It's  to  see  that  my  grave  is  kept  green. 


'Bright  Sherman  Valley.'  Another  text  from  the  Blaylock  Collection. 
Four  stanzas,  of  which  the  fourth  repeats  the  second.  The  stanzas 
correspond,  with  minor  variations,  to  stanza  i,  chorus,  stanza  3,  and 
chorus  of  A. 

261 

The  Slighted  Sweetheart 

One  more  song  of  broken  love — with  a  curious  break  in  tone  in 
the  last  line  of  the  tliird  stanza.  It  is  known  also  in  Kentuckv 
(BKH75-6). 

'The  Slighted  Sweetheart.'  From  the  manuscript  songbook  of  Miss 
Lura   Wagoner   of    \'o.\,    Alleghany   county,   where   it   is   dated   April   6, 


K  ()  1,  K      1.  V  K  I  C  307 

If,i3_the  date  oi  its  entry  in  the  Imuk.  'I'lie  last  stanza  is  one  likely 
to  be  attached  to  any  ballad  ending  in  a  deatii ;  it  is  the  regular  ending 
of  'Tlie  Butcher  Boy.'  The  whole  tiling  is  probably  conceived  as  a 
monologue,  though  some  lines  may  be  meant  as  spoken  by  the  second 
party  to  the  (|uarrel. 

1  My  dear  sweetheart,  so  fare  yoti  well. 
You  slighted  me,  hut  I  wish  yott  well. 
.\nd  it  on  earth  we  no  more  see, 

1  wouldn't  serve  you  like  you  did  me. 

2  We'll  go  to  Christ  to  mottrn  and  weep, 
h'or  fm  satisfied  1  never  can  sleep. 

You've  turned  me  away  and  hroke  my  heart. 
Uh.  how  can  1  from  >()tt  depart? 

3  My  dear  sweetheart,  my  harmless  dove, 
Hope  we  will  meet  in  a  world  ahove 
And  there  in  peace  we'll  live  forever — 
My  dear  sweetheart,  you  are  so  clever! 

4  A  many  an  hour  I've  spent  with  you  ; 
1  never  knew  you  were  not  true. 
I've  found  it  out ;  I  cried  aloud 

And  die  I  must  in  all  this  crowd. 

5  You  are  all  for  this  to  blame 
That  I  must  die  in  grief  and  pain. 
But  after  death  1  will  go  home; 

Then  think  of  me  you  have  served  so  wrong. 

6  The  pain  of  love,  I  know  full  well. 
No  heart  can  think,  no  tongue  can  tell ; 
But  I'll  tell  you  now  in  a  few  short  lines 
Love  is  worse  than  sickness  ten  thousand  times. 

7  Come  all  sweethearts  from  east  to  west. 
Come  view  my  grave  while  I'm  at  rest ; 
Come,  all  sweethearts  from  far  and  near. 
Don't  lose  your  lives,  for  they  are  dear. 

8  My  dear  relations  all  around, 

I'ni  going  to  heaven  to  wear  a  crown, 
I'm  going  there  forever  to  dwell. 
My  pain  is  delight,  so  fare  you  well. 

9  Go  dig  my  grave  both  wide  and  deep. 
Place  a  marble  stone  at  my  head  and  feet, 
And  on  my  breast  a  little  (k)ve 

To  show  to  the  world  that  I  died  for  love. 


308  NORTH     CAROLINA     FOLKLORE 

262 

The  Slighted  Girl 

Despite  the  similarity  in  title  and  situation,  tliis  is  a  quite  dif- 
ferent affair  from  'The  Slighted  Sweetheart'  (p.  306).  It  consists 
mostly  of  floating  stanzas  of  love  lyric  that  reappear  in  other  con- 
nections. A  song  reported  from  Tennessee  (SSSA  170)  has  a 
chorus  like  the  first  stanza  of  this  song  with  the  sexes  reversed: 
"There  are  more  pretty  girls  than  one,"  etc.  Otherwise  the  present 
song  has  not  been  found  elsewhere. 

'The  Slighted  Girl.'  From  the  manuscript  Ijook  of  songs  of  Miss  Lura 
Wagoner  of  Vox,  Alleghany  county,  lent  to  Dr.  Brown  in  the  summer 
of  1936.     The  song  was  entered  in  the  book  some  twenty  years  earlier. 

1  You  need  not  flirt  nor  flounce  around. 
There's  more  pretty  boys  than  one.  my  love, 
There's  more  pretty  boys  than  one. 

2  Don't  you  remember  the  very  time 
That  you  bowed  to  me  and  said 

If  ever  you  married  that  I  might  be  the  one,  my  love, 
That  I  might  be  the  one? 

3  But  now  you've  broken  all  promises, 
Just  marry  who  you  please. 

While  my  poor  heart  is  breaking  d(nvn 
You're  living  at  your  ease,  my  love, 
Yoti're  living  at  your  ease. 

4  The  blackest  crow  that  ever  flew 
Will  surely  turn  to  white 

If  ever  I  prove  false  to  yott, 

Bright  days  shall  turn  to  night,  my  love. 

Bright  days  shall  turn  to  night. 

5  Bright  days  shall  turn  to  night,  my  love. 
The  elements  shall  mourn. 

If  ever  I  prove  false  to  you 

The  roaring  sea  shall  burn,  my  love. 

The  roaring  sea  shall  burn. 

6  Oh,  don't  you  see  that  little  dove? 
It's  flying  from  tree  to  tree. 

It's  mourning  for  its  own  true  love; 
And  why  not  mine  for  me,  my  love. 
And  why  not  mine  for  me? 

"J     You  think,   1   know  you  tliink,   1   should. 
You're  blind  and  cannot  see. 


V  (I  I.  K    I.  V  R  I  c  3oy 

The  reason  why  I  do  not  niovun. 
He  does  not  mourn  for  u\v.  my  love. 
He  does  not  mourn  for  mc. 

8  You've  trami)U'(l  the  i^recn  i;'"'-'^'^  under  your  feet. 
It's  risen  and  or(j\vin<;-  aj^ain. 

I  loved  you  as  1  loved  my  life 

And  yet  it  caused  me  pain,  m\-  love. 

And  yet  it  caused  me  ])ain. 

9  Vou  slighted  me  once  and  also  twice. 
You  slighted  me  three  or  four  ; 

You  slighted  me  for  that  pale-faced  girl 
And  now  you  can  take  her  and  go,  my  love, 
And  now  you  can  take  her  and  go. 

10  Oh,  yes.  I  see  that  little  dove, 
It's  flying  from  vine  to  vine  ; 

It's  mourning  for  its  old  true  love. 
And  why  not  me  for  mine,  my  love. 
And  why  not  me  for  mine  ? 

1 1  The  time  has  come,  my  dearest  dear. 
When  you  and  1  must  part. 

And  no  one  know[s]  the  grief  and  woe 
Of  this  poor  aching  heart. 

12  Darling,  darling,  do  hush  up! 
I  hate  to  hear  you  cry. 

As  other  friends  are  having  to  part. 
And  why  not  you  and  I,  my  love, 
And  why  not  you  and  I  ? 

263 

The  Pale  Wildwood  Flower 

This  is  the  same  as  'The  Pale  Aniaranthus'  reported  as  known  in 
Kentucky  (Shearin  24-5),  Virginia  (FSV  86),  and  the  Ozarks 
(OFS  IV  315-17)  ;  both  Davis's  and  Randolph's  texts  and  those  from 
North  Carolina  (one  from  Avery  county,  fairly  close  to  our  A.  is 
given  by  Henry  in  BMFSB  49)  show  curious  corruptions  of  the 
word  amaranthiis.  Undoubtedly  the  song  circulated  at  some  time 
as  a  sheet  music  or  perhaps  songbook  piece  of  parlor  sentiment,  but 
I  have  not  succeeded  in  finding  it  in  print  of  that  sort.  That  the 
text  has  been  passed  on  by  word  of  mouth  is  evident  in  the  vari- 
ations shown  in  the  North  Carolina  versions.  It  even  has  two 
titles,  as  will  be  seen  below.  P.esides  the  texts  here  given  the  Col- 
lection has  two  recordings  of  it:  one  from  the  singing  of  Mrs. 
W.  \V.  Hughes,  Jonas  Ridge,  in  1940,  the  other  from  Miss  Beulah 
Walton,  Durham. 


310  NORTH  CAROLINA  FOLKLORE 


'Raven  Black  Hair.'  Secured  in  1915  or  thereabouts  from  I.  G.  Greer 
of  Boone,  Watauga  county.  With  the  tune.  The  "Armeta"  of  line  4 
is  what  is  left  of  "Amaranthus." 

1  I  will  twine  with  these  locks  of  raven  black  hair 
The  roses  so  red  and  the  lilies  so  fair. 

The  myrtle  so  bright  with  its  emerald  hue. 
And  the  pale  Armeta  with  eyes  of  dark  bine. 

2  He  taught  me  to  love  and  he  promised  to  love. 
To  cherish  me  always  all  others  above. 

I  woke  from  m\-  dreaming  ;  my  idol  was  clay, 
The  passion  of  loving  had  faded  away. 

3  He  taught  me  to  love  and  he  called  me  his  flower 

That  blossomed  to  cheer  him  through  life's  lonely  hour. 
But  another  has  won  him.  I'm  sorry  to  tell ; 
He  left  me  no  warning,  no  words  of  farewell. 

4  I'll  dance  and  I'll  sing  and  my  life  shall  be  gay. 
I'll  charm  every  heart  in  each  crowd  I  array ; 

Though  my  heart  now  is  breaking,  he  never  shall  know 
That  his  name  makes  me  tremble,  my  pale  cheeks  to  glow. 

5  I'll  dance  and  I'll  sing  and  my  life  shall  be  gay, 
I'll  stop  this  wild  weeping,  drive  sorrow  away. 
I'll  live  yet  to  see  him  regret  the  dark  hour 

That  he  won  and  neglected  this  frail  wikhvo<id  flower. 

B 

'The  Pale  Wildwood  Flower.'  Secured  by  W.  Amos  Abrams  from 
Margaret  Barlowe,  one  of  his  students  at  the  Appalachian  Teachers 
Training  College  in  Boone,  Watauga  county.  She  had  it  from  a  friend — 
says  it  was  written  down  by  Myrtle  Greer,  Dante,  Virginia,  February  4. 
1919.  The  "amaranthus"  has  passed  quite  out  of  recognition  into  a 
"pale  fairen  maiden"  in  line  4.  One  suspects  that  it  is  so  understood  in 
line  4  of  A. 

1  I'll  twine  mid  the  ringlets,  the  raving  dark  hair. 
The  rose  is  so  red  and  the  lily  so  fair. 

And  the  myrtle  so  green  mid  the  emerald  hue. 
This  pale  fairen  maiden  with  eyes  of  light  blue. 

2  I'll  laugh  and  I'll  sing  and  my  songs  shall  be  gay; 
I'll  quit  this  wild  weeping,  drive  sorrow  away. 
Though  my  heart  is  now  breaking,  he  never  shall  know 
That  his  nanu-  makes  me  tremble,  mv  ])ak'  cheeks  to  glow. 

3  He  promised  to  love  me;  he  called  me  his  flower 

That  bloomed  for  to  cheer  him  through  life's  weary  hour. 


K  0  L  K     L  Y  R  1  C  3^' 

Though  another  far  dearer  I'm  sorry  to  tell' 

He  has  left  me  no  \varnin_t(,  no  word  of  farewell. 

4  I'll  laugh  and  I'll  sing  and  my  life  shall  he  gay. 
I'll  cease  this  wild  weejjing,  drive  sorrow  away. 
Though  I  will  live  yet  to  see  him  regret  the  dark  hour 
That  he's  won  and  neglected  this  i)ale  wildwood  flower. 

5  1  promised  to  love  him  ;  he  told  me  that  he  would  love, 
He  woidd  sing  and  he  would  cheer  me.  like  others  al)Ove. 
But  when  I  awoke,  my  idol  was  clay ; 

The  pale  passionate  loving  had  faded  away. 

c 

'The    Frail    Wildwuod    Flower."      OI)tained   from    Bell    Brandon   of   Dur- 
liam.     Four  lines  only,  the  last  stanza  of  A. 

I'll  think  of  him  never.  I'll  he  wild  and  gay  ; 

I'll  cease  this  wild  weeping.  I'll  drive  sorrow  away. 

I'll  live  yet  to  see  him  regret  the  dark  hour 

When  he  won  and  neglected  this  frail  waldwood  flower. 

D 
No  title.     From   Mrs.   Minnie  Church.  Heaton,  Avery  county.     A  pecu- 
liarly corrupt  and  confused  text,  printed  here  as  it  stands  in  the  manu- 
script except  for  the  pointing  and  line  division.     The  meaning — sometimes, 
at  least — can  be  made  out  by  referring  to  texts  A  and  B. 

1  Oh  I  whine  with  my  mongles  and  waving  hlack  hair 
With  the  roses  so  red  and  the  lilies  so  fair 

And  moon  shines  so  hright  with  the  emblem  of  you. 

2  I  will  dance  and  I'll  sing  and  my  lass  shall  be  gay, 
I  will  charm  every  heart  in  his  crown  I  wnll  play, 
W  hen  I  wake  from  my  dreaming  .  .  .  does  play. 
And  all  portions  of  love  had  all  blown  away.  • 

3  Oh.  he  taught  me  to  love  him  and  promised  to  love. 
And  cherished  me  over  all  others  above. 

Now  my  heart  is  wondering  no  difference  he  can  tell. 
He  left  me  no  warning,  no  words  of  farewell. 

4  Oh,  he  caused  me  to  love  him.  and  called  me  his  flower 
That's  blooming  to  cheer  him  through  life's  weary  hour. 

264 

Storms  Are  on  the  Ocean 

This  is  the  title  f^iven  in  the  manuscript  of  the  first  of  the  two 
texts  here  presented.   This  text  is  a  curious  compound.    There  seems 

'  This  line  is  unconstruablo,  Init  the  general  intention  is  clear. 


312  NORTH  CAROLINA  FOLKLORE 

to  be  some  story  back  of  it,  but  it  is  not  easy  to  see  wbat  the 
story  is.  The  first  stanza  is  from  the  very  famihar  'My  Bonny 
Lies  Over  the  Ocean' ;  the  second  stanza  serves  in  the  other  text  as 
chorus ;  then  conies  the  "chorus"  which  supphes  the  title ;  and  the 
remaining  two  stanzas  carry  the  hint  of  a  story  of  a  despondent 
lover.  The  other  text  carries  in  its  two  stanzas  the  repeated  idea 
of  suicide.  This  idea  appears  in  Negro  song  (JAFL  xxviii  141. 
NWS  130,  137,  148)  with  the  same  rhyme  of  "town"  and  "drown," 
and  Miss  Scarborough  reports  it  (SCSM  350)  in  a  song  obtained 
from  a  schoolteacher  near  Asheville.  A  song  reported  from  Mis- 
sissippi (JAFL  XXXIX  153-5)  has  the  "storms  are  on  the  ocean" 
stanza  and  so  has  one  from  Tennessee  (JAFL  xlv  82).  This  stanza 
also  appears  as  the  chorus  in  our  North  Carolina  versions  of  'The 
Lass  of  Roch  Royal,'  Vol.  H,  No.  22.  p.  88.  The  Archive  of 
American  Folk  Song  has  a  record  of  this  chorus   from  California. 

A 
'Storms  Are  on  the  Ocean.'     Contributed  by   Otis  Kuykendall  of  Ashe- 
ville in  1939. 

1  Last  night  when  I  lay  on  my  pillow, 
Last  night  when  I  lay  on  my  bed, 
Last  night  when  I  lay  on  my  pillow 

I  dreamed  that  my  darling  was  dead. 

2  Oh.  blow,  gentle  winds,  from  the  ocean. 
Oh,  blow%  gentle  winds,  from  the  sea, 
Oh,  blow,  gentle  winds,  from  the  ocean, 
Blow  home  my  darling  to  me. 

Chorus: 

The  storms  are  on  the  ocean. 
The  seas  begin  to  roar. 
This  earth  will  lose  its  motion 
If  I  prove  false  to  thee. 

3  Sometimes  I  have  a  great  notion, 
Sometimes  I  have  a  great  mind. 
Sometimes  I  have  a  great  notion 
To  go  to  the  river  and  drown. 

4  Isn't  it  hard  to  leave  you,  dear. 
Isn't  it  hard  to  part. 

Isn't  it  hard  to  leave  you,  dear? 
It  almost  breaks  my  heart. 

B 

No  title.  Contributed  by  Mrs.  Nilla  l.aucaster  of  Goldsboro,  Wayne 
county,  in  1922-23. 

I      Sometimes  1  live  in  tlu'  coimtry. 
Sometimes  1  live  in  town, 


F  ()  1.  K      I.  V  K  I  C  313 

And  sdUK'tinu's   I   am  alinn>t   ]KTMUi<k'<l 
To  i^o  to  sonic  river  and  drown. 

Chorus: 

So  blow,  gentle  wind,  from  tlir  oecan. 
So  blow,  gentle  wind,  from  the  sea. 
So  blow,  gentle  wind,  from  tlie  ocean. 
And  bring  back  my  darling  to  me. 

2     I  have  no  love  for  the  country, 
I  have  no  love  for  the  town. 
And'  sometimes  1  am  alnK)st  jjcrsnaded 
To  go  to  some  river  and  drown. 

265 
There  Comes  a  Fellow  with  a  Derby  Hat 

This  appears  to  be  a  patcliing  together  of  nuisic-hall  matter — the 
opening  stanza— and  stanzas  from  'The  Blue-Eyed  Boy,'  p.  298. 

'There  Comes  a  Fellow  with  a  Derby  Hat.'     From  the  manuscript  song- 
book  of  -Miss  Edith  Walker  of  Boone,  Watagua  county. 

1  There  comes  a  fellow  with  a  derby  hat. 
They  say  he's  jealous,  but  what  of  that? 
If  he  is  jealous,  I  am  gay ; 

I  can  get  a  sweetheart  any  day. 

Chorus: 

Go  bring  me  back  the  one  I  love, 
Go  bring  my  darling  back  to  me. 
They  say  that  he  loves  another  girl; 
If  true,  he's  proven  false  to  me. 

2  There  sits  a  bird  on  yonder  tree. 
They  say  he's  blind  and  cannot  see. 
If  I  had  only  been  like  he 
Before  I'd  a-kept  your  company! 

266 
P.URY  Me  in  the  Garden 

This  has  nt)t  been  found  reported  elsewhere-  as  folk  soiii;,  l)ut 
Professor  White  notes  that  it  is  "a  somewhat  garbled  version  of  a 
song  I  learned  in  childhood  from  my  mother  and  can  still  sing, 
'Bury  me  in  the  cornfield,  nigger.'  " 

^  The  manuscript  has  "En,"  presumably  for  "An'." 

-  Except  that  an  identical  text  appears  in  Miss  Lucy  Cobb's  M.A. 
thesis  (MS,  Duke  University  Library )— secured  presumably  in  Ken- 
tucky or  Tennessee. 


314  NORTH      CAROLINA     F  O  L  K  I.  0  R  K 

'Bury  Me  in  the  Garden,  Mother."  Contributed  liy  Miss  Mary  Morrow 
of  Greensboro,  Guilford  county,  in  1928.  Tlic  part  that  1  have  marked 
"Chorus"  is  not  so  marked  in  the  manuscript. 

1  Bury  me  in  the  garden,  mother,  mother. 

Bury  me  in  the  garden,  mother,  mother,  mother  dear. 
Bury  me  in  the  garden. 

Chorus: 

O,  the  moonhght.  the  moonhght.  the  moonlight  shines 

so  bright, 
C),   the   sunliglit.    the    sunhglit,    the    sunhght    shines   so 

bright, 
O,   the   starlight,   the   starlight,   the   starlight   shines   so 

bright 
Way  down  in  the  garden  'neath  the  sycamore  tree. 

2  Bury  me  in  the  garden,  mother,  mother. 

Bury  me  in  the  garden,  mother,  mother,  mother  dear, 
Bury  me  in  the  garden. 

267 
The  Weeping  Willow 

For  the  range  and  affiliations  of  this  song  (not  to  be  confounded 
with  Foster's  'Under  the  Willow,'  which  was  perhaps  inspired  by 
it)  see  BSM  482,  and  add  to  the  references  there  given  Virginia 
(FSV  78-9)  and  the  Ozarks  (OFS  iv  228-30).  It  is  well  known 
in  North  Carolina,  appearing  eleven  times  in  our  collection.  Mrs. 
Steely  fotind  it  also  in  the  Ebenezer  community  in  Wake  county. 
The  texts  ditYer  chiefly  by  the  omission  or  inclusion  or  by  a  re- 
arrangement of  stanzas. 


'The   Weeping   Willow.'     Reported   by   Thomas    Smith   as   set   down   for 
him  by  Mrs.  Frank  Horton  of  Vilas,  Watauga  county,  in  1915. 

I      My  heart  is  broken.  I'm  in  sorrow. 
Weeping  for  the  one  I  love ; 
For  I  never  more  shall  see  him 
Till  we  meet  in  heaven  above. 

Chorus: 

Then  btiry  me  'neath  the  willow, 
Beneath  the  weeping  willow  tree. 
And  when  he  knows  where  I  am  sleeping. 
Then,  perhaps,  he'll  weep  for  me. 


I-  ()  L  K      I.  V  R  I  C  3^5 

2  Tomorrow  was  our  weddinj^  day  ; 
But  Ciod  knows  where  is  he. 

For  he's  jj^one  to  see  another 

And  lias  left  nic  alone  to  weep. 

3  lie'  told  UK'  that  he  did  not  love  me; 
r.ut  how  eould  1  believe  them  true? 
Until  an  angel  softly  whispered, 
'Me  will  he  untrue  to  you.' 

4  Put  on  my  brow  a  wreath  of  violets 
To  prove  that  I've  been  true  to  him. 
Tell  him  that  I  died  to  save  him. 
But  his  love  I  could  not  win. 

5  I'lant  on  my  grave  a  snow-white  lily, 
( )ne  that  blooms  in  purest  love ; 

For  I  never  more  shall  see  him 
Till  we  meet  in  heaven  above. 

B 

'The  Weeping  Willow  Tree.'  From  Miss  Pearl  Webb  of  Pineola,  Avery 
county,  some  time  in  1921-22.  Three  stanzas  and  chorus,  of  which 
stanzas  i  and  2  and  the  chorus  correspond  (with  slight  variations)  to 
stanzas   i  and  2  of  the  chorus  of  A  ;  stanza  3  runs  : 

Tomorrow  was  our  wedding  day. 
I  pray  the  Lord,  where  is  my  love? 
He's  gone,  he's  gone,  I  never  more  see  him 
Till  we  meet  in  Heaven  above. 

c 

'Weeping  Willow."  Contributed  liy  .\ustin  L.  Elliott  of  Farmer,  Randolph 
county. 

1  My  heart  is  sad,  and  I  am  lonely 
For  the  only  one  I  love. 

When  shall  I  see  him?    No,  no,  never, 
Till  in  heaven  we  meet  above. 

Chorus: 

Then  bury  we  under  the  weeping  willow. 
Under  the  weeping  [willow]  tree. 
Where  he  may  know  where  I  am  sleeping 
And  perhaps  he  will  weep  for  me. 

2  Tomorrow  is  our  wedding  day. 
Oh,  where,  oh,  where  is  he? 
He  has  gone  to  seek  another; 
He  no  longer  cares  for  me. 

^  The  sense    and  other  texts,  show  that  this  is  miswrittcn  for  'They." 


3l6  NORTH     CAROLINA     FOLKLORE 

3  They  told  me  that  he  did  not  love  me. 
How  could  I  believe  them  true? 
Until  an  angel  softly  whispered, 

'He  will  prove  untrue  to  you.' 

4  Then  bury  me  under  the  weeping  willow, 
Under  the  weeping  willow  tree, 

And  tell  him  that  1  died  to  save  him, 
For  his  wife  I  could  not  be. 

D 

'The  Weeping-Willow  Tree.'  Obtained  by  W.  L.  Anderson  from  Max- 
ine  Tillett,  pupil  in  the  school  at  Nag's  Head  on  the  Banks.  Stanza  i 
and  chorus  of  A,  with  some  slight  verbal  variations. 

E 

'The  Weeping  Willow  Tree.'  Taken  down  as  sung  near  Balantyne, 
Transylvania  county,  but  the  singer's  name  not  noted.  Chorus  and  first 
three  stanzas  as  in  A  except  that  stanzas  2  and  3  have  changed  places  ; 
stanza  4  combines  stanzas  4  and  5  of  A  : 

Place  on  my  grave  a  snow-white  lily 
For  to  prove  my  love  was  true ; 
And  when  he  knows  I  died  to  save  him 
Then  perhaps  he'll  weep  for  me. 


'Weeping  Willow  Tree.'  Reported  by  Macie  Morgan  of  Stanly  county. 
The  first  two  stanzas  and  the  chorus  as  in  E.  with  a  few  slight  verbal 
differences  ;  the  third  stanza  runs  : 

Go  bury  me  beneath  the  willow 
Just  to  prove  my  love  for  him  ; 
And  tell  him  that  I  died  to  save  him. 
For  his  love  I  could  not  win. 

G 

'Weeping  Willow  Tree.'  Secured  from  Otis  Kuykendall  of  Ashevillc 
in  1939-  Substantially  the  same  matter  as  in  A,  but  rearranged  and  with 
divers  verbal  variations. 

I     They  told  me  tliat  he  would  deceive  me. 
Oh,  how  could  I  believe  it  was  true. 
Until  an  angel  whispered  softly, 
'He  will  prove  untrue  to  you.' 

Chorus: 

Go  bury  me  beneath  the  wilUnv, 
Beneath  the  weeping  willow  tree. 
For  there  he'll  know  that  I  am  sleeping; 
Then  perhaps  he'll  weep  for  me. 


V  ()  I.  K      I.  V  K  1  C  317 

2  I'latX'  on  niv  ,<;rav(.'  a  siiow-whiU'  lily  ; 
'iliat  will  jji-ove  my  love  is  true. 
And  tfll  him  that  1  died  to  save  him. 
And  his  lo\e  1  did  not  own. 

3  Tomorrow  was  my  wedding  day. 
Ikit  Clod  only  knows  where  he  is; 
He's  gone  away  to  love  another 
And  he  has  left  me  here  to  weep. 

H 
'The   Willow   Tree.'     From   Miss   Hattie   McNeill   of   Ferguson,   Wilkes 
county,    sometime    in    1921-2J.      With    the    music.      The    text    is    only    a 
fragment,  imperfect  copy  of  the  opening  stanza. 

I 
'The  Weeping  Willow.'     From   Miss  Florence  Holton  of   Durluim.     Only 
the  first  stanza  and  three  lines  of  the  chorus.     The  stanza  runs  : 

Aly  heart  is  sad  and  I  am  in  sorrow 
For  the  only  one  1  k)ve. 
He's  gone,  he's  gone  to  seek  another ; 
But  I  hope  we'll  meet  ahove. 

J 

'Down  hy  the  Weeping  Willow.'  Reported  hy  M.  K.  Carmichael  as 
sung  in  Dillon  county.  South  Carolina.  Only  the  chorus  and  two  stanzas 
remembered,  the  two  stanzas  being  stanzas  2  and  3  of  A  with  some 
verbal  alterations. 

K 

'Under  the  Weeping  Willow  Tree.'  From  the  John  Burcli  Blaylock 
Collection.     Stanza  3,  chorus,  and  stanza  2  of  A. 

268 
Down  by  the  W'liEPiNG  Willow  Tree 

N.ot  Foster's  'Under  the  Willow'  nor  any  of  the  other  willow 
songs  listed  in  BSM  482-3;  in  fact  the  editor  has  found  this  par- 
ticular song  nowhere  else.  For  the  golden  (more  often  silver) 
spade  and  the  golden  chain  as  implements  in  a  burial,  see  'Old 
Blue,"  p.  252,  and  the  references  there  given. 

'Down  by  the  Weeping  Willow  Tree.'  Reported  hy  S.  M.  Holton, 
Principal'of  Bain  Academy,  .Matthews,  Mecklenburg  county.  Fach  stanza 
is  made  up  of  a  line  sung  three  times  and  a  refrain  line;  as  shown  in 
the  first  stanza  here  given. 

I      Dig  my  grave  and  let  me  lie,  love  ; 
Dig  my  grave  and  let  me  lie,  love ; 
Dig  my  grave  and  let  me  lie,  love, 
Down  hy  the  weeping  willow  tree. 


3l8  NORTH     CAROLINA     FOLKLOKI' 

2  Make  it  lung  and  deep  and  wide,  love ; 

3  Dig  my  grave  with  a  golden  spade,  love  ; 

4  Let  me  down  with  a  golden  chain,  love ; 

5  Cover  me  over  with  the  sod.  love; 

269 

The  Gumtree  Canoe 

This  song  by  S.  S.  Steele,  to  be  found  in  songbooks,  in  Miss 
Pound's  syllabus  of  Midwestern  song,  and  in  Ford's  Traditional 
Music  of  America,  and  reported  by  Randolpli  as  traditional  song  in 
Missouri  (OFS  iv  302),  appears  in  our  collection  in  two  frag- 
ments, one  of  the  tirst  two  stanzas  and  the  other  of  the  final  stanza. 


'On  the  Tombigbee  River.'     Contributed  in   1916  by   Camden   Blades,  at 
that  time  a  student  at  Trinity  College. 

1  On  the  Tombigbee  River,  'twas  there  I  was  born, 
In  a  hilt  built  of  logs  in  the  tall  yellow  corn  ; 
'Twas  there  that  I  tirst  met  my  Julia  so  true 
And  sailed  her  about  in  my  gumtree  canoe. 

CliOKKs: 

Sing  row  away  o'er  the  waters  so  blue. 
Like  a  feather  we  float  in  our  gumtree  canoe. 
Sing  row  away  o'er  the  waters  so  blue. 
Like  a  feather  we  float  in  our  gumtree  canoe. 

2  All  day  in  the  tield  the  soft  cotton  Ld  hoe  ; 
And  think  of  my  Julia,  and  sing  as  Ld  go ; 
Ld  catch  her  a  bird  with  a  wing  of  true  blue 
And  sail  her  about  in  mv  gumtree  canoe. 


'One  Day  We  Went  Rowing.'     Contributed  by  Elsie  Doxey  of  Currituck 
county.     No  date  given. 

One  day  we  went  rowing,  and  rowed  so  far  away 
We  could  not  get  back ;  so  we  thought  we  would  stay. 
We  spied  a  tall  ship  with  its  flag  of  true  blue. 
Which  took  us  all  in  with  our  gumtree  canoe. 

Chorus: 

Row,  row,  o'er  waters  so  blue. 

We'll  float  like  a  feather  in  our  gumtree  canoe. 


FOLK     LYRIC  3^9 

270 

The  Indian  Hunter 

Tolman  found  this  renK-nibered  in  Ohio  (JAFL  xxv  375)  and 
Brewster  in  Indiana  (  SFI.Q  iv  175).  Kittred^e  appended  to  Tol- 
nian's  text  a  bil)hoi;rapliical  note  showins^  that  it  was  printed  in  a 
great  many  songlKJoks  dating  from  1835  to  iHgi.  its  subject  is  of 
course  the  white  man's  romantic  Indian. 

'Indian  Song:  Let  Me  Go.'     Contril)uted  liy  tlio  Misses  Hdlenian  (if  Dur- 
ham in  1922. 

1  Let  me  go  to  my  home  that  is  far  distant  west. 
To  the  scenes  of  my  youth  that  1  like  the  best. 
Where  the  tall  cedars  are  and  the  bright  waters  flow, 
Where  my  parents  will  greet  me,  white  man,  let  me  go! 

2  Let  me  go  to  the  spot  where  the  cataract  plays, 
Where  oft  I  have  sported  in  my  boyish  days ; 
There  is  my  poor  mother  whose  heart  will  o'erflow 
At  the  sight  of  her  child;  oh,  there  let  me  go! 

3  Let  me  go  to  the  hills  and  the  valleys  so  fair 
Where  oft  I  have  breathed  my  own  mountain  air. 
And  there  through  the  forest  with  quiver  and  bow 

I  have  c[h]ased  the  wild  deer;  oh,  there  let  me  go! 

4  Let  me  go  to  my  father,  whose  galliant  side 

1  have  sported  so  oft  in  the  height  of  my  pride 

And  exultive  to  concjuer  the  insolent  foe ; 

To  my  father,  that  chieftain,  oh,  there  let  me  go  !^ 

5  And  oh,  let  me  go  to  my  dark-eyed  maid 

Who  taught  me  to  love  beneath  the  willow  shade. 
Whose  heart  is  like  the  fawn's  and  pure  as  the  snow. 
And  she  loves  her  dear  Indian.    To  her  let  me  go ! 

6  And  oh,  let  me  go  to  my  far  forest  home. 
And  never  again  will  I  wish  to  roam  ; 
And  there  let  my  body  in  ashes  lie  low ; 

To  that  scene  in  the  forest,  white  man,  let  me  go ! 

271 

Goodbye.  Little  Girl,  Goodbye 

Dr.    Wliite   notes   tliat   he   knew   tliis    song  as   an   undergraduate, 
1909-13,   "but  the   version    I   knew   had   in  the   chorus   "uniform   of 

^  How  this  stanza  should  read  may  be  seen  in  Brewster's  Indiana  text: 
Let  me  go  to  my   sire,   by   whose  battle-scarred   side 
I  have  sported  so  oft  in  the  morn  of  my  pride 
And  exulted  to  conquer  the  insolent  foe ; 
To  my  father  the  chief  let  me  go,  let  me  go. 

X.C.F,.  Vol.  TTI,  (23) 


320  NORTH  CAROLINA  FOLKLORE 

blue'  for  'Virginia  uniform,'  relating  it  probably  to  the  Spanish- 
American  rather  than  the  Civil  War."  1  have  not  found  it  else- 
where. 

'Goodbye,  Little  Girl,  Goodbye.'  From  the  manuscript  book  of  songs 
of  Miss  Edith  Walker  of  Boone,  Watagua  county,  obtained  in  1936. 

1  The  sound  of  the  bugle  is  calling ; 
Fare  thee  well,  fare  thee  well. 
The  soldiers  in  line  are  falling ; 
Fare  thee  well,  fare  thee  well. 

There's  a  rose  in  your  hair,  sweet  maiden, 
And  the  fragrance  floats  in  the  air. 
But  the  rose  on  your  cheek  is  fading. 
Hark !     I  hear  the  trumpet  sounding. 

Chorus: 

Goodbye,  little  girl,  goodbye, 
Goodbye,  little  girl,  don't  cry. 
In  my  Virginia  tmiform 
I'll  come  marching  back  to  yoti ; 
Goodbye,  little  girl,  don't  cry. 

2  From  afar  comes  the  sound  of  the  battle. 
Bugle  call,  soldiers  fall. 

On  the  ground  mid  the  roar  and  the  rattle 

Lies  a  brave  soldier  boy. 

'There's  a  rose  in  your  breast  [,  sweet  maiden,'] 

I  could  hear  him  say,  mid  the  battle  fray, 

'If  you  spare  me  to  see  my  darling. 

Will  you  take  it  back  to  her  and  say :' 

272 

I'm  Tired  of  Living  Alone 

This  scrap  of  folk  song — which  may  have  come  originally  from 
some  parlor  song — the  editor  has  not  found  recorded  elsewhere. 

'I'm  Tired  of  Living  Alone.'  Contributed  by  Jennie  Belvin  of  Durham 
in  1922.     With  the  tune. 

I'm  tired  of  living  alone. 

I  went  to  the  river,  and  I  saw  a  pretty  rose, 

I  plucked  it  and  called  it  my  own. 

A  rose  will  fade,  and  so  will  a  maid  ; 

I'm  tired  of  living  alone. 

Chorus: 

I'm  tired  of  living  alone, 

I'm  tired  of  living  alone ; 

A  rose  will  fade  and  so  will  a  maid ; 

I'm  tired  of  living  alone. 


folk    lyric  321 

Will  You  Love  Me  When  I'm  Old? 

Miss  Pound  in  her  syllabus  of  Midwestern  popular  song  says 
this  is  the  work  of  J.  Ford.  Shearin's  syllabus  reports  it  as  known 
in  Kentucky;  Randolph  found  it  in  Missouri  (OFS  iv  344-5); 
Neely  and  Spargo  (TSSl  241-2)  record  it  for  Illinois;  and  Henry 
(SSSA  30)  reports  a  parody  of  it  from  Tennessee,  'Will  you  love 
nie  when  I'm  bald?'  Parody  is  unfailing  evidence  of  popularity. 
It  appears  six  times  in  our  collection : 

A  From  I.  G.  Greer,  Boone,  Watauga  county.  A  clipping  from  an  un- 
named newspaper,  without  date.     With  the  tune  as  (]reer  heard  it  sung. 

B  From  the  manuscripts  of  Mrs.  Mary  Martin  Copley,  Route  8,  Dur- 
ham, obtained  by  Jesse  T.  Carpenter. 

C  From  J.  B.  Midgett,  Wanchese,  Roanoke  Island.  With  the  tune  as 
sung  by  Mrs.  (or  Mr.)   C.  K.  Tillett,  in  1922. 

D  From  L.  V.  Harris,  apparently  from  Montgomery  county. 

E  From  S.  M.  Holton,  Durham  ;  known  in  Davidson  county.  With  the 
music  as  set  down  by  Miss  Hattie  McNeill. 

F  From  Jesse  T.  Carpenter,  Durham.  A  single  stanza  only,  compounded 
of  parts  of  stanzas  i  and  2  of  A.  He  had  heard  it  sung  about  fifty 
jears  before. 

These  texts  do  not  differ  significantly.     It  will  be  sufficient  to  give 
the  first  of  them. 

1  I  would  ask  of  you,  my  darling, 
A  question  soft  and  low- 
That  gives  me  many  a  heartache 
As  the  moments  come  and  go. 
Your  love,  I  know,  is  truthful. 
Yet  the  truest  love  grows  cold. 
It  is  this  that  I  would  ask  you  : 
Will  you  love  me  when  I'm  old? 

Clionis: 

Life's  morn  will  soon  be  waning 
And  its  evening  bells  be  tolled, 
And  my  heart  will  know  no  sadness 
If  you'll  love  me  when  I'm  old. 

2  Down  the  stream  of  life  together 
We  are  sailing  side  by  side. 
Hoping  some  bright  day  to  anchor 
Safe  beyond  the  surging  tide. 
Today  our  skies  are  cloudless, 


322  NORTH     CAROLINA     FOLKLORE 

But  the  night  may  clouds  unfold 
And  its  storms  may  gather  round  us ; 
Will  you  love  me  when  I'm  old? 

3     When  my  hair  shall  shame  the  snowdrift 
And  mine  eyes  shall  dimmer  grow, 
I  would  lean  upon  some  loved  one 
In  the  valley  as  I  go. 
I  would  claim  of  you  a  promise 
Worth  to  me  a  world  of  gold ; 
It  is  only  this,  my  darling. 
That  vou'll  love  me  when  I'm  old. 


274 
Goodbye,  My  Lover,  Goodbye 

This  song,  credited  in  Sears's  Index  to  T.  H.  Allen,  is  a  uni- 
versal college  favorite.  It  has  been  reported  as  folk  song,  so  far 
as  I  can  find,  only  from  Virginia  (FSV  197),  Tennessee  (SSSA 
169,  BTFLS  V  33-4,  in  the  latter  case  as  a  play-party  song),  and 
North  Carolina  (]\Irs.  Steely  found  it  in  the  Ebenezer  community), 
but  it  is  known  and  sung  all  over  the  country.  Its  catchy  refrain, 
chorus,  and  tune  lend  themselves  readily  to  improvisation.  .So  in 
one  of  the  uses  of  it  in  our  collection  "ship"  is  turned  into  "train" 
and  "railroad  men"  becomes  "Chapel  Hill  men,"  making  it  a  local 
college  song.  Our  other  text  departs  even  further  from  the  orig- 
inal song,  introducing  two  elements  of  what  was  originally  Negro 
song,  the  "new-cut  road"  and  the  terrapin  and  the  toad.  Just 
why  the  new-cut  road  should  appeal  to  singers  is  not  apparent : 
perhaps  chiefly  because  it  rhymes  with  toad.  Both  these  elements 
appear  also  in  'Clare  de  Kitchen,"  No.  413  of  this  collection.  They 
are  reported  also,  separately  or  together  but  generally  together  and 
not  in  association  with  'Goodbve  Mv  Lover,  Goodbve,'  from  Vir- 
ginia (TNFS  163-164),  Kentucky  (BKH  172),  Alabama  (ANFS 
247,  248),  Texas  (Owens  70-1,  as  a  play-partv  song),  and  Iowa 
(MAFLS  XXIX  87). 


'See  the  Train   Go  round  the   Bend.'     Reported  by   K.   P.   Lewis   as  set 
down  in  1910  from  the  singing  of  Dr.   Kemp  P.   Battle  of  Chapel   Hill. 

See  the  train  go  'roun'  the  bend. 
Goodbye,  my  lover,  goodby. 
Loaded  down  with  Chapel  Hill  men. 
Goodby,  my  lover,  goodby. 

By-o  my  baby  baby  by 

By-o  my  baby  baby  by  ^ 

By-o  my  baby  baby  by 

Goodby,  my  lover,  goodby. 


V  0  L  K      I.  V  R  1  C  323 

B 

'Goodbye,  My  Lover,  Goodbye.'  Contril)uted  in  1914  ijy  Miss  Amy 
Henderson  of  Worry,  Hiirkf  county.  The  intercalated  refrain  and  chorus 
are  repeated  in  eacli  stanza. 

1  As  1  went  down  the  new-cut  road, 
Goodbye,  my  lover,  goodbye, 

I  met  a  terrai)in  and  a  toad, 
Goodbye,  my  lover,  goodbye. 
Bye,  baby,  bye-o, 
Bye,  baby,  bye-o, 
Bye,  baby,  bye-o, 
Goodbye,  my  lover,  goodbye. 

2  Every  time  tbe  toad  would  sing 
The  terrapin  cut  the  pigeon-wing. 

3  See  the  train  come  round  the  curve 
Loaded  down  with  pretty  young  girls. 

4  See  the  train  go  round  the  bend 
Loaded  down  with  railroad  men. 

275 
Somebody 

This  was  perhaps  originally  a  parlor  song.  It  has  been  reported 
as  traditional  song  from  Virginia  (ASb  464-5.  I'^SV  loi),  Ken- 
tucky (BKH  loi),  North  Carolina  (BMFSB  46-7,  but  without 
the  chorus),  the  Ozarks  (OFS  in  94-5),  and  Nebraska  (ASb 
464-5)  ;  what  is  perhaps  a  form  of  it  or  a  derivative  from  it  by 
Perrow  from  Tennessee  (JAFL  xxvi  185)  and  by  Talley  as  Negro 
song  (Negro  Folk  Rhymes  51).  Mrs.  Steely  found  it  in  the  Eben- 
ezer  community  in  Wake  county.  It  may  have  been  suggested  by 
a  song  printed  by  Herd  in  his  Ancient  and  Modern  Scottish  Songs 
(11  41-2  of  the  1869  reprint)  or  another  given  by  Christie  {Tradi- 
tional Ballad  Airs  11  74-5).  Our  North  Carolina  texts  vary  in  a 
way  that  shows  the  singers  improvising. 

A 

'Somebody's  Tall  and  Handsome.'     Obtained  l)y  Jesse  T.  Carpenter  from 
Mrs.  Mary  Martin  Copley,  Route  8,  Durham.     Not  dated. 

I      Somebody's  tall  and  handsome. 
Somebody's  eyes  are  blue, 
Somebody's  sweet  and  loving. 
Somebody's  kind  and  true. 

Chorus: 

I  love  somebody  dearly, 
I  love  somebody  well. 


324  NORTH      C  A  K  0  L  I  X  A     FOLKLORE 

I  love  somebody  with  all  my  heart ; 
'Tis  more  than  tongue  can  tell. 

2  Somebody's  tall  and  handscnne, 
Somebody's  fair  to  see, 
Somebody's  kind  and  loving, 
Somebody  smiles  on  me. 

3  Somebody's  tall  and  handsome. 
Somebody's  brave  and  true. 
Somebody's  hair  is  very  bright 
And  somebody's  eyes  are  blue. 

4  Somebody  lives  in  the  country, 
Somebody  boards  in  town. 
Somebody's  hair  is  very  dark. 
And  somebody's  eyes  are  brown. 

5  Somebody's  heart  is  faithful. 
Somebody's  heart  is  true. 
Somebody  waits  for  somebody ; 
Somebody  knows  ;  do  you  ? 

6  Somebody's  coming  to  see  me, 
Somebody  came  tonight. 
Somebody  asked  me  to  be  his  bride 
And  I  answered  him,  'All  right.' 

B 

'Somebody.'  Reported  in  1923  by  Miss  Gertrude  Allen  (later  Mrs. 
R.  C.  Vaught),  Taylorsville,  Alexander  county.  Stanzas  3-5  of  tbis  are 
not  in  A. 

1  Somebody  is  tall  and  handsome. 
Somebody  is  fond  and  true, 
Somebody's  hair  is  rather  dark, 
And  somebody's  eyes  are  too. 

2  Somebody  loves  me  dearly. 
Somebody  loves  me  well. 
Somebody  loves  me  with  all  his  heart ; 
It  is  more  than  tongue  can  tell. 

3  There's  something  on  my  finger, 
I  know  you  never  could  guess. 
He  gave  it  to  me  in  the  moonlight 
Last  night  when  I  told  him  'Yes.' 

4  When  I  go  to  promenade  the  streets 
T  look  so  neat  and  gay 

I  take  my  little  dog  along 
To  keep  the  boys  away. 


FOLK     LYRIC  32$ 


Somebody  asked  nie  to  kiss  him, 
Somebody  thought  it  was  nice ; 
Somebody  called  me  his  darling  girl, 
Somebody  asked  me  to  kiss  him  twice. 

Somebody's  tall  and  handsome, 
Somebody's  fond  and  true, 
Somebody's  hair  is  rather  light 
z\nd  somebody's  eyes  are  blue. 


'Somebody's  Tall  and  Handsome.'  Contributed  by  Miss  Jewell  Robbins 
(later  Mrs.  C.  P.  Perdue)  of  Pekin,  Montgomery  county,  some  time 
between  1921  and  1923.  With  the  tune.  Four  stanzas,  of  which  the 
first  corresponds  to  stanza  3  of  A  (except  that  his  hair  is  here  "very 
dark"),  the  second  and  third  to  stanza  6  of  A  and  stanza  3  of  P>,  and 
the  fourth  to  stanza  2  of  B. 


'Somebody  Is  Tall  and  Handsome.'  This  is  anonymous  but  is  probably 
from  Mrs.  Coffey  of  Shull's  Mills,  Watagua  county.  It  is  not  just  the 
same  as  any  of  the  preceding  texts  but  introduces  nothing  that  is  not 
found  in  one  or  another  of  them. 

276 

You,  You,  You 

This  fragment  is  in  a  different  rhythm  from  'Somebody.'     It  has 
not  been  found  elsewhere. 

'You,  You,  You.'     Contributed  by  Mrs.  W.  L.  Pridgen  of  Durliam. 

Somewhere  somebody's  waiting  for  you. 
Somewhere  somebody's  heart  is  true, 
Sometime  you'll  love  somebody  who'll  love  you  true. 
Somewhere  somebody's  waiting  for  you,  you,  you. 

277 
Cold  Mountains 

I  have  found  this  reported  as  folk  song  elsewhere  only  by  Davis 
from  Virginia  (FSV  93). 

'Cold  Mountains.'  Obtained  from  Mrs.  Minnie  Church,  Heaton,  Avery 
county,  in  1930.  The  text  seems  corrupt  in  places  but  is  here  given  as 
in  the  manuscript.  With  the  tune,  as  sung  by  Mrs.  Alice  Cook  and  by 
Miss  Hattie  McNeill. 

I      Cold  mountains  here  are  all  around  me. 
Cold  waters  gliding  down  the  stream  ; 
Oft  in  my  sleep  I  think  I  find  her 
But  when  I  wake  it's  all  a  dream. 


326  NORTH     CAROLINA     FOLKLORE 

2  When  I  awoke  and  did  not  tind  her 
All  on  my  bed  I  wept  and  mourned ; 
Tears  from  my  eyes  fell  without  number 
All  because  I'm  left  alone. 

3  Hills  and  mountains  all  dressed  a-mourning, 
The  lofty  trees  bown  down  to  me. 

Birds  of  the  air  are  well  adourning. 
Come  help  me  mourn,  she's  fled  from  me. 

4  The  wild  beast  hear  my  limintation, 
The  lonesome  desert  hear  my  mourn, 
Yes,  heathen  nations  without  number. 
Oh,  weep !  My  bosom  friend  is  gone. 

5  When  will  my  mourning  days  be  over? 
Yes,  all  my  mourning  days  be  gone? 

I  can't  stay  here,  I'm  not  befriended ; 
I  to  some  foreign  land  must  roam. 

6  Farewell,  my  dear ;  I  hate  to  leave  you. 
I  hate  the  time  that  we  must  part. 
Altho  I  love  you  without  measure, 
Here  is  my  hand ;  you've  got  my  heart. 

278 
My  Home's  across  the  Smoky  Mountains 

One  of  the  numerous  bits  of  love  lyric  current  among  ballad- 
singing  folk.  This  particular  bit  I  have  not  found  reported  from 
outside  the  state. 

A 
'My  Home's  across  the  Smoky  Mountains.'     Reported  in  June   1948,  by 
Professor  Hudson,  from  the  singing   (at  Chapel  Hill)   of  Bascom  Lamar 
Lunsford    of    South    Turkey    Creek,    Buncombe    county.      Mr.    Lunsfonl 
described  it  as  a  popular  banjo  song. 

1  My  home's  across  the  Smoky  Mountains. 
My  home's  across  the  Smoky  Mountains, 
My  home's  across  the  Smoky  Mountains, 
And  you'll  never  get  to  see  me  any  more. 

2  Goodbye,  little  sugar  darling. 
Goodbye,  little  sugar  darling. 
Goodbye,  little  sugar  darling. 

You'll  never  get  to  see  me  any  more. 

3  Rock  my  baby,  feed  it  candy. 
Rock  my  baby,  feed  it  candy. 
Rock  my  baby,  feed  it  candy. 
You'll  never  get  to  sec  me  any  more. 


FOLK      LYRIC  327 

4  J\I\-  home's  across  the  Smoky  Mountains. 
My  home's  across  the  Smoky  Moimtains. 
My  home's  across  the  Smoky  Mountains, 
And  you'll  never  get  to  see  me  an\'  more  . 

R 
Tni  (k)ing  over  Rocky  Mountain.'  Altliough  the  sheet  on  whicli  it  is 
written  hears  no  contrihutor's  name,  there  is  no  reason  to  question  its 
genuineness.  It  was  doubtless  noted  down  by  Dr.  Brown  from  some 
one  of  his  contributors  and  lie  neglected  to  record  the  name  of  his 
informant. 

1  I'm  going  over  Rocky  Mountain, 
I'm  going  over  Rocky  Mountain. 

I'm  going  over  Rocky  IMountain,  my  love, 
And  I  will  never  see  my  darling  any  more. 

2  Where  is  the  finger  ring  I  gave  you, 
Where  is  the  finger  ring  I  gave  you, 

Where  is  the  finger  ring  I  gave  you.  my  love? 
For  I'll  never  see  you,  darling,  any  more. 

279 

Must  I  Go  to  Old  Virginia? 

The  only  trace  of  this  the  editor  has  found  elsewhere  is  a  line 
from  'Must  I  Go  to  Mississippi  ?'  reported  by  Henry  from  North 
Carolina  ( SSSA  24),  and  here  the  resemblance  does  not  e.xtend 
beyond  the  single  line  (see  stanza  4).  But  our  song  bears  the 
marks  of  authentic  folk  song.  The  last  stanza  is  from  The  Drowsy 
Sleeper.' 

'Must  I  Go  to  Old  Virginia?'  From  the  manuscript  songbook  of  Miss 
Lura  Wagoner  of  V^ox,  Alleghany  county,  which  was  lent  to  Dr.  Brown 
in  1936. 

1  Must  I  go  to  old  Virginia? 
North  Carolina  is  my  home. 

I  used  to  court  a  pretty  fair  gentleman. 
And  his  name  it  was  unknown. 

2  His  hair  was  hlack  and  his  eyes  did  sparkle, 
And  his  cheeks  were  diamond  red. 

On  his  hreast  he  wore  white  linen. 
Oh,  the  tears  that  I  have  shed ! 

3  When  I  am  asleep  I  am  dreaming  ahout  voil 
W  hen  I  am  awake  I  take  no  rest. 

Every  moment  seems  like  an  hour, 
Everv  moment  seems  like  death. 


328  NORTH  CAROLINA  FOLKLORE 

4  Must  1  go  to  Mississippi? 
For  your  sake  must  I  die  ? 

Must  I  leave  you  broken-hearted? 
Oh  law.  darling,  don't  you  cry. 

5  Papa  says  I  must  not  marry, 
Mama  says  it  will  not  do ; 

But,  dear  darling,  if  you  are  willing 
I  will  run  away  with  you. 

6  Wake  up,  wake  up.  you  drowsy  sleepers, 
Wake  up.  it  is  almost  day. 

How  can  you  sleep,  oh,  how  can  you  slumber 
When  your  true  love  is  going  away  ? 

280 
Red,  White,  and  Blue 

This  is  the  old  English  song  of  a  lovelorn  girl  more  often  called 
'Green  Grows  the  Laurel,'  concerning  which  see  BSM  480 — and 
add  to  the  references  there  given  Virginia  (FSV  86),  Kentucky 
(Shearin  37),  North  Carolina  (FSRA  136),  Mississippi  (JAFL 
XXXIX  147),  Missouri  (OFS  i  273-5),  and  Michigan  (BSSM  102)  : 
it  is  also  listed  for  the  Midwest  (Pound  74).  Mrs.  Steely  found  it 
in  the  Ebenezer  community  in  Wake  county.  Our  three  texts  are 
fairly  close  together,  yet  their  differences  interestingly  illustrate  the 
way  of  the  folk  with  a  song. 


'Red,  White,   and   Blue.'     From  the   manuscripts   of   G.    S.   Robinson   of 
Asheville,  obtained  in  1939. 

1  Ah,  once  I  had  a  sweetheart  but  now  I  have  none. 
He's  gone  and  left  me ;  I  live  all  alone. 

I  live  all  alone,  and  contented  will  be. 
For  he  loves  another  one  better  than  me. 

CJwnis: 

Green  grow  the  laurels  all  wet  with  the  dew. 
Sorrow  of  the  time  that  I  i)arted  from  you. 
The  next  time  I  see  you  I  hope  you'll  prove  true 
And  change  the  green  laurels  to  red,  white  and  blue. 

2  I  passed  my  lover's  window  both  morning  and  night, 
I  passed  my  lover's  window  both  early  and  late. 

To  see  my  love  sit  there  it  makes  my  heart  ache ; 
He's  a  lad  of  the  laurels,  a  lad  of  the  lakes. 

3  T  wrote  mv  l<)\e  a  letter  all  red  rosy  lines. 
She  wrote  me  another  all  twisted  in  twine 


K  ()  L  K      r,  V  K  I  C  329 

Saying,  'Keep  your  loxx'-letters  and  1   will  keep  mine. 
You  write  to  your  sweetheart  and  I'll  write  to  mine."' 

B 

'1  Oiicc  Had  a  Swocthoart.'  Repdrtcd  by  W.  Amos  Ahrams  as  ohtaiiiod 
from  Margaret  Barlowe,  a  stiuk-nt  at  tiu-  Appalacliiaii  'I'rainiiig  Collej^c 
at  Boone.     Not  dated. 

I      1  once  had  a  .sweetheart,  but  now  I  have  none, 
He's  gone  and  left  me  and  left  me  alone. 
But  since  he  has  left  me  contented  I'll  be. 
He  is  loving  another  girl  better  than  me. 

Chorus: 

Green  grows  the  wild  lilies  and  so  does  the  rose. 
It's  sad  to  your  heart  when  parting  with  yours. 
I  hope  the  next  meeting  we  will  also  prove  true 
And  change  the  green   laurels  to  the   red,   white,   and 
blue. 

2  He  wrote  nie  a  letter  all  twinkling  and  twine; 
I  wrote  him  an  answer  on  red  roses  line. 

Saying,  'Keep  your  love-letters  and  I  will  keep  mine ; 
You  write  to  your  sweetheart  and  I'll  write  to  mine.' 

3  He  passed  by  my  window  both  early  and  late. 

The  looks  that  he  gave  me  would  make  my  heart  ache. 
The  looks  that  he  gave  me  ten  thousand  would  kill ; 
He  is  loving  another  that  makes  him  quite  ill. 

4  I  of  ttimes  have  wondered  how  women  love  men ; 
And  yet  I  do  wonder  how  they  can  love  them. 
I've  had  some  experience,  I  want  you  to  know; 
Young  men  are  deceitful  wherever  they  go. 


'Green  Grows  the  Wild  Olive.'     Reported  in  1922  by  Miss  Mamie  Alans- 
field  of  Durham  as  sung  by  Miss  Madge  Nichols. 

I  once  had  a  sweetheart,  but  now  I  have  none. 
He  has  gone  and  left  me,  and  left  me  alone. 
He  has  gone  and  left  me;  but  contented  I'll  be. 
He  is  loving  anotl|pr  girl  better  than  me. 

Chorus: 

( jreen  grows  the  wild  olive,  and  so  does  the  rose. 

It's  sad  since  I  parted  my  heart  from  yours. 

I  hope  the  next  meeting  will  prove  to  be  true 

And  change  the  green  olive  to  the  red.  white,  and  blue. 

^  Observe  that  in  this  stanza  it  is  the  man  that  is  speaking.     For  the 
right  form  of  this  part  see  B. 


330  NORTH     CAROLINA     FOLKLORE 

281 

Down  in  the  Valley  (Birmingham  Jail) 

This  is  a  favorite  song  in  the  Southern  highlands,  known  in 
Virginia,  Kentucky,  Georgia,  and  also  in  Louisiana,  Texas,  Arkan- 
sas, and  Missouri.  See  BSM  488,  and  add  to  the  references  there 
given  Kentucky  (ABFS  147-8),  Georgia  (SSSA  179),  Arkansas 
(OFS  IV  284-5),  Oliio  (ASb  148),  and  tlie  Archive  of  American 
Folk  Song,  which  has  recordings  of  it  from  Virginia,  Kentucky, 
and  Texas.  Mrs.  Steely  found  two  forms  of  it  in  the  Ebenezer 
community  in  Wake  county.  In  it  the  theme  of  far-off  valley 
sounds  heard  from  a  hill  top  is  commonly  combined  with  a  con- 
vict's love  message. 

A 

'Down  in  the  Valley.'  Contributed  by  Mildred  Peterson  of  Bladen  county 
in  1923. 

1  Down  in  the  valley,  valley  so  low, 

Late  in  the  evening,  hear  the  train  blow ; 
The  train,  love,  hear  the  train  blow  ; 
Late  in  the  evening"  hear  the  train  blow. 

2  To  build  me  a  mansion,  btiild  it  so  high. 
So  I  can  see  my  true  love  go  by, 
Love,  see  her  go  by, 

So  I  can  see  my  true  love  go  by. 

3  Go  write  me  a  letter,  send  it  by  mail. 

Back  it  and  stamp  it  to  the  Birmingham  jail. 
Birmingham  jail,  love,  Birmingham  jail. 
Back  it  and  stamp  it  to  the  Birmingham  jail. 

4  Roses  are  red,  love,  violets  are  blue. 
God  and  his  angels  know  I  love  you, 
Know  I  love  you,  know  I  love  you, 
God  and  his  angels  know  I  love  you. 

B 

'Birmingham  Jail.'  Contributed  by  Otis  Kuykendall  of  Asheville  in 
August  1939.  Here  the  valley  is  replaced  by  the  levee — perhaps  a  more 
familiar  scene  of  activity  for  a  convict. 

1  Down  on  the  levee,  levee  so  low. 

Late  in  the  evening  hear  the  train  blow. 
Hear  the  train  blow,  love,  hear  the  train  i)low, 
Late  in  the  evening  hear  the  train  blow. 

2  Roses  love  sunshine,  violets,  and  you. 
Angels  in  heaven  know  I  love  you. 
Write  nu'  a  letter,  send  it  by  mail ; 
Send  it  in  care  of  the  P.irmingham  jail. 


FOLK     LYRIC  331 

282 

I  Sent  My  Love  a  Letter 

The  'bird  in  a  cage'  refrain  and  the  notion  of  writing  a  letter 
to  one's  love  are  recurring  elements  of  folk  lyric.  Something  like 
the  combinations  of  our  texts  is  reported  from  Kentucky  (BKH 
141,  AS!)  213 — the  latter  sung  by  Negroes).  Compare  also  'Red, 
White,  and  Blue'  and  'Down  in  the  \'alle\-.'  aliove. 


Xo  title.  Obtained  from  William  C.  Daulken,  student  at  the  University 
of  North  Carolina,  in  1915.  The  manuscript  has  "him  (or  her)"  in  lines 
I  and  3,  to  show  that  it  may  l)c  sung  by  a  woman  or  a  man  ;  but  the 
second  stanza  implies  that  it  should  read  simply  "her." 

1  I  sent  her  a  letter, 
'Twas  only  one  line, 
'Twas  only  to  ask  her 
Would  she  be  mine. 

Refrain: 

Bird  in  a  cage,  love,  singing  to  me, 
Bird  in  a  cage,  love,  singing  to  me. 

2  She  sent  me  a  letter, 
'Twas  only  one  line, 
'Twas  only  to  promise 
She  would  be  mine. 

B 

'I  Wrote  My  Love  a  Letter.'  Reported  by  W.  Amos  Abrams  as  obtained 
(probably  in  1935-36)   from  Mary  Best  of  Statesville,  Iredell  county. 

1  I  wrote  my  love  a  letter. 

It  was  wrote  in  rosy  red  lines ; 

He  wrote  me  another. 

It  was  all  twisted  in  twines. 

2  He  said,  'You  can  keep  your  love-letters 
And  I'll  keep  mine. 

For  I  love  another  girl 

And  I'm  going  to  leave  you  behind.' 

c 
'Birds  in  the  Cage.'     From  the  John  Burch  Blaylock  Collection. 

I     I  wonder  where  my  Lulu  is. 
Can  anyone  tell? 
She's  up  on  the  mountain ; 
I  hope  she's  doing  well. 


332  NORTH     CAROLINA     FOLKLORE 

Chorus: 

Birds  in  the  cage,  love, 
Birds  in  the  cage. 
Birds  in  the  cage,  love, 
Birds  in  the  cage. 

2  I  wrote  her  a  letter, 
It  was  only  one  line. 
All  I  wanted  was  Lulu 
To  be  mine. 

3  Go  build  me  a  house,  love. 
Upon  the  mountain  so  high, 
So  I  can  see  Lulu 

As  she  passes  by. 

4  Go  dig  my  grave,  love, 
Both  deep  and  wide, 
And  bury  Lulu 

Close  by  my  side. 

5  Way  years  ago,  love. 

You  promised  to  marry  me ; 
But  now  you  say,  love, 
That  never  can  be. 

283 

In  the  Pines,  Where  the  Sun  Never  Shines 

Two  songs  of  a  similar  temper  and  containing  a  few  other  ele- 
ments in  common,  but  not  really  the  same  song,  are  held  together 
by  the  use  of  a  very  effective  refrain  or  chorus.  This  refrain  is 
found  also  elsewhere  in  songs  that  correspond  to  neither  of  the  two 
here  given.  In  Kentucky  it  appears  in  a  song  called  'Black  Girl' 
(SharpK  11  278)  and  as  a  stanza  in  a  version  of  'The  Maid  Freed 
from  the  Gallows'  (BKH  113).  Gordon  (FSA  83-4)  has  a  text 
that  combines  elements  that  appear  in  both  of  our  two  texts;  he 
describes  it  as  a  banjo  picker's  song.  Our  texts  are  composites, 
as  American  folk  songs  so  often  are.  The  longer  of  the  two  con- 
tains elements  from  'The  Lonesome  Road,'  'Darling  Little  Pink.' 
and  'The  Turtle  Dove.'     C  is  merely  a  fragment. 


'There's  More  Than  One.'  Contributed  by  Miss  Pearl  Webb  of  Pineda, 
Avery  county,  some  time  in  1921-22.  The  mani:script  is  confused;  the 
line  and  stanza  division  is  the  editor's,  and  he  confesses  that  it  is  un- 
certain, as  in  places  the  text  is  obviously  defective. 

I     'Little  darling,  little  darling,  don't  tell  me  no  lie. 
Where  did  you  stay  last  night?' 


FOLK     LYRIC  333 

'I  stayed  in  the  pines  where  the  sun  never  shines. 
1  shivered  when  the  culd  wind  hlow[edJ.' 

Chorus: 

To  the  pines,  to  the  pines,  where  the  sun  ne\er  shines. 
Oh.  1  shivered  when  the  cold  wind  ])h)wed. 

2  Look  down,  look  d(jwn  this  lonesome  road; 
Hang  down  your  head  and  cr}-. 

The  hest  of  friends  must  part  some  time. 
Then  why  not  you  and  1  ? 

3  You've  slighted  me  once,  you've  slighted  me  twice. 
You'll  never  slight  me  any  more. 

You've  caused  me  to  weep,  you've  caused  me  to  mourn, 
You've  caused  me  to  leave  my  home. 

4  The  long  steel  rail  and  short  cross  ties 
Going  to  carry  me  away  from  home. 

5  My  love  she  stands  on  yonder  shore 
And  waves  her  hand  at  me,  my  love. 
And  waves  her  hand  at  me. 

6  Come  back,  come  back,  my  own  true  love, 
I'll  stay  with  you  till  I  die. 

7  The  prettiest  girl  I  ever  saw 

Was  sitting  with  her  head  bowed  down  ; 
Her  hair  was  as  curly  as  the  waves  at  the  sea. 
Her  eyes  a  Spanish  brown. 

8  The  longest  train  I  ever  saw- 
Was  on  the  Georgia  line. 

The  engine  passed  at  five  o'clock. 
The  cab  never  passed  till  nine. 

9  The  longest  day  I  ever  saw 
Was  the  day  I  left  my  home. 
The  day  I  left  my  daddy's  house 
Was  the  day  I  left  my  home. 

10  Free  transportation  brought  me  here. 
Take  money  to  carry  me  away. 

11  Oh.  don't  you  see  that  little  dove 
Flying  from  vine  to  vine? 

Tt  makes  me  mourn  for  my  own  true  love 
Just  like  you  mourn  for  yours. 


334  NORTH     CAROLINA     FOLKLORE 

B 

'Mobiline.'  Obtained  irum  Mamie  Mansfield  of  the  Fowler  School  Dis- 
trict, Durham  county,  in  July  1922.  Was  a  Mobiline  some  make  ol 
automobile  ? 

1  The  prettiest  girl  1  ever  saw 
Was  riding  a  Mobiline. 

Her  head  was  crushed  in  the  driving  wheel, 
Her  body  was  lost  but  found. 

CJionts: 

Now  darling,  now  darling,  don't  tell  me  no  lies ; 
Where  did  you  stay  last  night  ? 
I  stayed  in  the  pines,  where  the  sun  never  shines. 
And  shivered  when  the  cold  wind  blowed. 

2  If  I  had  listened  to  what  dad  said 
1  wouldn't  been  here  tonight, 

1  wouldn't  been  here  in  this  rowdy  crowd 
A-having  this  rowdy  time. 

3  Now  don't  you  hear  those  mourning  doves 
belying  from  pine  to  pine, 

Mourning  for  their  own  true  love 
Just  like  I  mourn  for  mine? 

c 

'The  Lonesome  Pine.'  A  record  made  in  1922  by  Miss  Hattie  McNeill 
of  Ferguson,  Wilkes  county,  from  which  the  following  fragmentary  lines 
have  been  transferred. 


For  the  longest  train  I  ever  saw 
Was  on  my  Georgy  line. 


O  darling.  O  darling,  don't  tell  me  no  lie. 

284 
Bonnie  Blue  Eyes 

"A  purely  North  Carolina  product,"  Dr.  Brown  noted  on  his 
version  of  this  song.  Its  appearance  outside  the  state  lends  some 
support  to  this  judgment;  Davis  (FSV  99)  reports  it  from  Carroll 
and  Dickenson  counties,  Virginia,  and  the  Archive  of  American 
Folk  Song  has  a  recording  of  it  from  Blount  county.  Tennessee, 
all  of  which  places  are  on  or  close  to  the  North  Carolina  border. 
Gordon  (F'SA  81)  has  a  nine-stanza  version  which  he  describes 
as  a  banjo  picker's  song  but  does  not  say  where  lie  found  it. 
Randolph    COFS   iv  209-10)   has  a   four-stanza  version   from   Mis- 


FOLK     L  V  R  I  C  335 

souri.  Of  our  texts  the  tirst  two  were  ])ul)lislK'(l  by  Louise  Kaiul 
Bascoin  in  the  Journal  of  American  I'olk-Lorc  in  1909.  She  noted 
tlien  that  the  sonj;  was  "said  to  have  l)een  written  July  5,  1907," 
hut  further  invcstis^ation  convinced  her  tliat  it  was  "ten  years  old 
at  least"  at  the  time  she  wrote.  The  versions  vary  widely.  Dr. 
Brown  remarks  that  it  is  a  "sort  of  communal  composition,  'i'here 
are  four  or  live  different  versions  or  fragments." 


'Bonnie   Blue  Kyes.'     Puhiislied  l)y   Louise   Raiul   Bascom   in  JAFL  xxii 
243-4.     She  does  not  state  where  in  tlie  inciuntains  she  found  tliis  version. 

1  I'm  gom    otit  West  next  fall. 
I'm  goin'  otit  West  next  fall, 

I'm  goin'  out  W^est  whar  times  is  the  best, 
I'm  goin'  ottt  West  next  fall. 

2  Don't  cry.  little  Bonnie,  don't  cry, 
Don't  cry.  little  Bonnie,  don't  cry, 
For  if  you  cry  you'll  spile  your  eye. 
Don't  cry.  little  Bonnie,  don't  cry. 

3  When  you  tole  me  you  loved  me,  you  lied, 
When  you  tole  me  you  loved  me,  you  lied. 

When  you  tole  me  you  loved  me  you  lied,  my  dear. 
When  you  tole  me  you  loved  me,  you  lied. 

4  I  asked  your  Mommer  for  you, 
1  asked  your  Popper  for  you, 

I  asked  your  Popper  an'  Mommer  both  for  you ; 
They  both  said  'No-oh-no.' 

5  I'm  forty-one  miles  from  home, 
I'm  forty-one  miles  from  home, 

I'm  forty-one  miles  from  home,  Bonnie  Blue  Eyes, 
I'm  forty-one  miles  from  home. 

6  I  hyar  the  train  comm'.  I  do. 
I  hyar  the  train  comin',  I  do. 

I  hyar  the  train  comin'  to  carry  me  through 
To  see  my  little  Bonnie  Blue  l\ves. 

7  I'm  goin"  to  see  Bonnie  Blue  Eyes. 
I'm  goin'  to  see  Bonnie  Blue  Eyes. 
The  only  girl  I  ever  loved 

Was  my  Bonnie  Blue  Eyes. 

8  But  now  she's  married  an'  gone, 
But  now  she's  married  an'  gone. 

But  now  she's  married.  I've  waited  too  long 
To  get  my  P)onnie  Blue  Eyes. 

X.C.F.,  Vol.  TTT.   (24) 


336  NORTH  CAROLINA  FOLKLORE 

B 
'Bonnie  Blue  Eyes.'     This  version  also  Miss  Bascoin  published  in  JAFL 
XXII  242-3. 

1  Don't  cry,  little  Bonnie,  don't  cry, 
Don't  cry,  little  Bonnie,  don't  cry. 
Don't  cry,  little  Bonnie,  don't  cry. 
Don't  cry.  little  Bonnie,  don't  cry. 

2  I  hyar  the  train  coniin',  I  do, 
I  hyar  the  train  coniin',  I  do. 

I  hyar  the  train  comin'  to  carry  me  through, 
I  hyar  the  train  comin',  1  do-o-o. 

3  Don't  cry,  little  Bonnie,  don't  cry. 
Don't  cry,  little  Bonnie,  don't  cry, 

Ef  ye  cry,  little  Bonnie,  you'll  spile  your  eye. 
Don't  cry,  little  Bonnie,  don't  cry-i-i. 

5     I  asked  your  Popper  for  you, 
I  asked  your  Mommer  for  you, 
I  asked  your  Popper  an'  Mommer  for  you. 
They  both  said  'No-o-o.' 

5  She  tole  me  she  loved  me,  she  did. 
She  tole  me  she  loved  me,  she  did. 

She  tole  me  she  loved  me,  she  never  did  lie, 
Good-by,  little  Bonnie,  good-by-i-i. 

6  Fm  forty-one  miles  from  home, 
I'm  forty-one  miles  from  home, 
Pm  forty-one  miles  from  home. 
Good-bye,  little  Bonnie  Blue  Eyes. 

7  And  now  she's  married  an'  gone. 
An'  now  she's  married  an'  gone. 
Pve  waited  around  for  her  too  long, 
An'  now  she's  married  an'  gone. 

c 

'Bonnie   Blue   Eyes.'     A  third,   much   abl)r(.-viatcd,   text   from   Miss   Bas- 
com's  papers;  from  Highlands,  Macon  county.     W'itli  tlic  tune. 

1  Good-bye,  little  Bonnie,  good-bye, 
Good-bye,  little  Bonnie,  good-bye, 

You've  told  me  more  lies  than  the  stars  in  the  skies. 
You  ain't  my  Bonnie  Blue  Eyes. 

2  You  tole  me  you  loved  me,  you  always  did  lie. 
Good-bve,  little  lionnie.  good-bye. 


I'  ()  L  K     I.  V  K  I  c  337 

3  The  Danville  train's  in  town. 

1  know  hv  the  way  little  P)()nnie  does'  nnui' 
That  the  train  is  dne  in  town. 

4  I'm  goin'  to  the  West  some  day, 

I'm  goin'  to  the  West,  but  not  to  stay, 
I'm  comin'  back  some  day. 

D 

'Bonnie  Blue  Eyes.'  Manuscript  in  Dr.  Brown's  hand,  with  the  nota- 
tion :  "These  two  stanzas  are  selected  from  at  least  a  dozen  and  a 
half.  .  .  .     Collected  near  Highlands,  N.  C."     With  the  tunc. 

1  Good-bye,  little  Bonnie,  good-bye, 
Good-bye,  little  Bonnie,  good-bye ; 

You've  told  me  more  lies  than  the  stars  in  the  skies, 
You  ain't  my  Bonnie  Blue  Eyes. 

2  And  now  I'm  far  from  home, 
And  now  I'm  far  from  home ; 

But  I  love  little  Bonnie  in  spite  of  her  lies. 
My  own,  my  l->onnie  Blue  Eyes. 

There  are  also  in  the  Collection  two  anonymous  sheets  with  the 
music  for  this  song. 

285 
The  Midnight  Dew 

This  composite  folk  lyric  has  already  been  published  by  Louise 
Rand  Bascom,  Highlands,  Macon  county,  in  1909  (JAFL  xxii 
244-5).  It  seems  desirable,  however,  to  repeat  it  here;  the  more  so 
because  the  text  which  she  contributed  to  the  present  collection 
differs  slightly  from  that  printed  in  JAFL.  The  song  seems  not  to 
have  been  reported  elsewhere. 

'Midnight  Dew.'  Contributed  by  Louise  Rand  Bascom,  Highlands, 
Macon  county.  Printed  in  JAFL  xxii  (1909)  244-5.  With  the  tune, 
as  sung  by  Airs.  N.  T.  Byers  of  Silverstone,  Watauga  county. 

1  In  the  midnight  dew,  love, 
I  often  think  of  you. 

When  I'm  rambling  in  the  midnight  dew,  love, 
I  often  think  of  you. 

2  You  can  hyar  the  whistle  blow. 
You  can  tell  the  train  I'm  on, 
You  can  hyar  the  whistle  blow 
A  hundred  miles  from  home. 

^  Miswritten  for  "goes"  ? 


338  NORTH     CAROLINA     F  0  L  K  I,  O  R  !•. 

3  I'm  a  fool  about  you. 

An'  you're  the  only  darlin'  too, 
Lord,  but  I'm  a  fool 
About  you,  hoo-hoo. 

4  If  the  train  runs  right 

I'll  go  home  tomorrer  night. 
You  can  hyar  the  wliistle  blow 
A  hundred  miles  from  home. 

5  If  the  train  runs  a  wreck 
I'm  sure  to  break  my  neck ; 
I'll  never  see  my  honey 
Any  more,  hoo-hoo. 

6  My  old  shoes  is  worn 
An'  my  ole  close  is  torn. 
An'  I  can't  go  to  meetin' 
This  way.  hoo-hoo. 

7  Oh,  Lordy  me. 

For  ther's  trouble  I  do  see, 
Fur  nobody  cyars 
Fur  me.  hoo-hoo. 

8  Oh.  it's  Lordy  me 
An'  it's  oh,  Lordy  my. 

An'  I  want  to  go  to  Heaven 
^\'hen  I  die.  hoo-hoo. 

9  I'll  pawn  you  my  watch 
An"  my  wagon  an'  my  team. 

An'  if  that  don't  pay  my  darlin's  bill 

I'll  pawn  my  gold-diamont  ring,  hoo-hoo. 

10  You've  caused  me  to  weep 

An'  you've  caused  me  to  mourn 
An'  you've  caused  me  to  leave 
Mv  home,  hoo-hoo. 

11  An'  wear  this  ring  I  give  to  you. 
An'  wear  it  on  your  right  ban'. 
An'  when  I'm  dead  an'  forgotten. 
Don't  give  it  to  no  other  man.^ 

^  This  final  stanza  appears  in  the  JAFL  print  as  the  second  of  two 
stanzas  given  under  the  title  'Charming  Betsy,'  and  Miss  Rascom  com- 
ments :  "Why  the  maiden  is  admonished  to  wear  the  love  token  on  her 
right  hand  is  a  matter  for  conjecture,  unless  tlie  fond  lover  is  willing 
to  leave   her    for   another.     As  a   matter   of   fact,   the   mountain   women 


K  ()  I.  K    1.  V  k  1  c  339 

286 

Via'  Around,  My  Blue-Eyed  (Iiri, 

Here  are  asseniblcd  a  number  of  songs  of  rather  widely  different 
character  but  held  toj^ether  by  a  common  plirase  (sometimes  with 
"blue-eyed  miss"  or  "pretty  little  miss"  instead  of  "blue-eyed  girl") 
in  the  chorus  stanza.  They  are  not  always  easily  to  be  kept  apart 
from  songs  with  the  "pretty  little  pink"  phrase.  Where  these  latter 
are  definitely  play-party  or  dance  songs  they  are  considered  under 
the  caption  'Coffee  Grows  on  White  Oak  Trees.'  The  songs  brought 
together  here  are  not  described  by  the  contributors  as  play-party 
songs — though  some  of  them  may  have  been  so  used.  A  song 
using  the  phrase  reported  by  Sharp  from  North  Carolina,  "Betty 
Anne'  (SharpK  ii  ;^/),  is  not  considered  by  him  a  play-party  song. 
There  is  in  our  collection  a  record  of  the  song  as  sung  by  Miss 
Hattie  McNeill  of  Ferguson,  Wilkes  county,  in   1922. 


'That  Blue-Eyed  Girl.'     Sung  by  Rynic-r,  a  banju-pickcr,  in  "The 

Beats"  near  the  mouth  of  Newfound  Creek  in  Buncombe  county.  This 
is  reminiscent  of  the  English  milkmaid  song  'Where  Are  You  Going, 
My  Pretty  Maid?" 

1  How  old  are  you,  my  pretty  little  miss? 
How  old  are  you,  my  honey  ? 

She  looked  at  me  with  a  smiling  look  : 
'I'll  be  sixteen  next  Sunday.' 

C  horns: 

It's  fly  around,  my  bl'te-eyed  girl, 
It's  fly  around,  my  daisy  ; 
It's  fly  around,  my  pretty  little  miss — 
You've  done  run  me  crazy. 

2  Will  you  marry  me,  my  pretty  little  miss? 
Will  you  marry  me,  my  honey? 

She  looked  at  me  with  a  smiling  look : 
'I'll  marry  you  some  Sunday.' 

3  It's  every  day  and  Sunday  too, 
It  seems  so  dark  and  hazy, 

I'm  thinking  about  my  blue-eyed  girl — 
She's  done  run  me  crazy. 


practically  never  wear  rings."      In   place  of  our   final   stanza   the  JAl'I. 
print  closes  with  one  about  the  "lonesome  road"  : 

You've  caused  me  to  walk 

That  long  lonesome  road 

Which  has  never  been 

Travelled  afore,  hoo-hoo. 


340  X  ()  R  T  H      CAROLINA     FOLKLORE 

4  It's  every  day  and  Sunday  too 
I  liang  my  head  and  cry  ; 

I'm  thinking  about  my  blue-eyed  girl — 
Oh,  surely  1  will  die  ! 

5  If  I  had  no  horse  at  all, 
I'd  be  found  a-cra\vlin' 

Up  and  down  the  rocky  branch 
Looking  for  my  darlin'. 

B 

No  title.  Collected  from  James  York,  Olin,  Iredell  county,  in  August 
1939.  The  final  stanza  is  from  'Bonnie  Blue  Eyes' ;  stanza  3  seems  to 
belong  to  some  convict's  song.  The  first  stanza  may  be  assumed  to  be 
a  chorus. 

1  Fly  around,  my  blue-eyed  girl, 
Fly  around,  my  daisy ; 

Fly  around,  my  blue-eyed  girl. 
You  almost  run  me  crazy. 

2  Hard  to  love  when  you  can't  be  loved. 
It's  hard  to  change  your  mind. 

You've  broke  my  heart,  you've  killed  me  dead. 
You  left  me  far  behind. 

3  They  bound  my  hands  with  iron  bands, 
They  bound  my  feet  with  chains ; 
And  before  I  leave  my  sweet  daisy 
I'd  wear  the  old  shackles  again. 

4  Don't  cry.  my  bonnie  bltte  eyes, 
Don't  cry.  my  bonnie,  don't  cry ; 
For  if  you  cry  you'll  spoil  your  eyes ; 
Don't  cry.  my  bonnie  blue  eyes. 


'Fly  Around,  My  Pretty  Little  Miss.'  Contrilnitod  in  1939  by  Otis 
Kuykendall  of  Asheville.  The  penultimate  stanza  appears  in  various 
songs  of  the  mountain  folk. 


I      The  stormy  clotids  are  rising. 
It  sure  looks  like  rain. 
Hitch  uj)  Mike  and  Charlie,  boys. 
And  drive  little  Liza  Jane. 

Chants: 

Fly  around,  my  i)retty  littk"  miss, 
l'"ly  around,  my  dai.sy. 
l"ly  around,  my  pretty  little  miss, 
\'()U  almost  run  me  crazv. 


!•  ()  L  K     LYRIC  341 

2  Went  up  on  the  mountain  top. 
Gave  my  horn  a  blow. 
Thought  1  heard  somebody  say, 
'Yonder  comes  my  beau.' 

3  You  may  ride  the  grey  horse 
.And  I  will  ride  the  roan  ; 
^'ou  may  court  the  other  girl. 
But  leave  mine  alone. 

D 

'The  Blue-Eyed  Girl.'  Reported  by  I.  G.  Greer  from  the  singing  of 
Mrs.  N.  J.  Herring  of  Tomaliawk,  Sampson  county.  Highly  composite. 
For  what  is  here  marked  "chorus"  see  'Shady  Grove' ;  the  needle  and 
thread  stanza  belongs  to  a  play-party  song,  'Wish  I  Had  a  Needle  and 
Thread";  and  the  joke  about  the  yellow  girl's  kinky  hair  is  one  of  the 
floating  items  of  Negro  (or  pseudo-Negro)   song. 

1  Fly  around,  my  blue-eyed  miss, 
Fly  around,  my  daisy ; 

Fly  around,  my  blue-eyed  miss, 
You're  about  to  run  me  crazy. 

Chorus: 

Shady  grove,  my  little  love. 
Shady  grove,  I  say  ; 
Shady  grove,  my  little  love, 
Going  far  away. 

2  Massy  had  a  yellow  girl. 
Brought  her  from  the  South  ; 

Her  hair  way^  kinked  upon  her  head 
She  couldn't  shut  her  mouth. 

3  I  wish  I  had  a  needle  and  thread 
As  fine  as  I  could  sew ; 

I'd  sew  my  sweetheart  to  my  side 
And  down  the  river  I'd  go. 

4  Wish  I  had  a  banjo  string 
Made  of  golden  twine ; 
Evry  tune  I  could  pick  on  it 
'I  wish  that  gal  was  mine.' 

5  \\  ish  I  was  a  mocking-l)ird 
In  yonders  mountain  high  ; 
I'd  take  wings  and  fly 

To  mv  true  love's  side.- 

^  Should  this  be  "was"  ? 

-  This  stanza  is   marked   "Cho.   5."   meaning  perha])s   tliat   it   takes   the 
place,  at  the  end  of  the  song,  of  the  lines  marked  "chorus"  above. 


342  NORTH     CAROLINA     FOLKLORE 

287 

Darling  Little  Pink 

Stanzas  addressed  to  "pretty  little  pink"  occur  frequently  in  play- 
party  songs,  especially  in  'Coffee  Grows  on  White  Oak  Trees,'  under 
which  title  they  are  dealt  with  in  the  present  volume.  Another 
movable  phrase,  "Fly  around,  my  pretty  little  miss,"  not,  apparently, 
associated  with  play-party  songs,  is  considered  under  "Fly  Around, 
My  Blue-Eyed  Girl.'  Tlie  song  here  presented  1  have  not  found 
elsewhere — though  its  temper  is  common  enough  in  love  songs  of 
the  folk. 

'My   Darling   Little    Pink.'      From   the   collection   of   Louise    Rand    Bas- 
com,  Highlands,  Macon  county,  1914. 

1  My  darling  little  pink,  won't  you  tell  nie  what  you  think? 
You're  a  long  time  a-makin'  up  your  min'. 

You've  tole  me  more  lies  than  the  stars  in  the  skies, 
An'  your  heart  is  no  more  of  mine. 

2  If  your  heart  was  mine,  my  dear  little  pet, 
You  would  lean  it  across  my  breast. 

3  I've  been  to  the  east  and  I've  been  to  the  west 
An'  I've  been  most  everywhere. 

An'  the  only  girl  I  ever  loved 

W'as  the  one  with  the  bright  yellow  hair. 

4  Lord,  I've  seen  more  trouble  than  any  pore  boy 
Than^  the  sun  has  ever  shined  on. 

Hand  me  down  a  bottle  of  that  old  morphine 
An'  I'll  try  for  to  ease  my  pain. 

5  If  it  hadn't  been  for  my  babe  and  my  blue-eyed  girl 
I  would  have  slept  in  my  lonesome  grave. 

The  longest  train  that  I  ever  seen  was  leavin'  the  micer's- 

mine. 
The  engine  was  a-pullin'  on  a  nine  mile  grade 
An'  the  cabins-  had  never  left  the  town. 

288 

Billy  My  Darling 

A  fragment  of  folk  lyric.  It  has  no  connection  with  'Billy  Boy,' 
but  the  last  two  lines  of  A  suggest  the  second  stanza  of  'Down  in 
the  Valley'  A  (p.  330). 

A 
'Billy."      Kcpnrti-d  l>y    .Mrs.   .Sutton  in   1922,   l)ut  slie  does  not  say   whore 
she  heard  it.     With  tlic  tunc 

'  Probably  niiswritten   for  "That." 

"  iMir  "iniccr's"  read  "luica,"  and  for  "cabins"  read  "caboose." 


r  ()  L  K    1.  V  R  1  I'  343 

Billy.  Ill}'  darling',  Hilly,  my  dear, 

W  hen  you  think  1  don't  love  you  it's  a  foolish  idea^ 

Up  in  a  tree-top  high  as  the  sky, 

1  can  see  Billy,  Billy  pass  by. 

B 

'Hilly.'     An  earlier  reporting  by   Mrs.   Sutton  of  the  same  song,  lacking 
the  last  two  lines. 


289 

Seeing  Nelly  Home 

Few  songs  are  more  widely  known  in  American  colleges,  or  in- 
deed among  American  singing  folk  generally,  than  'Aunt  Dinah's 
Quilting  Party'  (credited  in  the  Sears  Supplement  to  "J.  Fletcher, 
words  by  F.  Kyle").  Our  collection  has  a  text  of  this  obtained 
by  L.  \V.  Anderson  from  Maxine  Tillett,  pupil  in  the  school  at 
Nag's  Head ;  it  does  not  differ  from  the  form  found  in  college 
songbooks  and  is  therefore  not  presented  here.  But  there  is  also 
a  quite  ditTerent  text — perhaps  the  original,  perhaps  an  elaboration, 
of  the  familiar  song — which  it  seems  worth  while  to  give. 

'When  I  Saw  Sweet  Nellie  Home.'     From  Miss  Duo  K.  Smith,  Houston 
ville,  Iredell  county.     No  date  given. 

1  In  the  sky  the  bright  stars  glittered. 
On  the  grass  the  moonlight  fell. 
Hushed  the  sound  of  daylight's  Inistle, 
Closed  the  pink-eyed  pimpernell. 

As  down  the  moss-covered  wood-path, 
\\  here  the  cattle  loved  to  roam. 
From  Aunt  Dinah's  quilting  partv 
I  was  seeing  Nellie  home. 

Chorus: 

W  hen  I  saw  sweet  Nellie  home, 
When  I  saw  sweet  Nellie  home ; 
How  I  bless  the  August  evening 
When  I  saw  sweet  Nellie  home ! 

2  Pretty  ringlets  softly  fluttered 
O'er  a  brow  as  white  as  snow% 
And  her  cheek — the  crimson  sttnset 
Scarcely  had  a  warmer  glow. 

'Mid  her  parted  lips'  vermilion 
\\'hite  teeth  flashed  like  the  ocean  foam  ; 
All  I  marked  with  pulses  throbbing 
As  I  saw  sweet  Nellie  home. 


344  NORTH     CAROLINA     FOLKLORE 

3  When  autumn  tinged  the  greenwood, 
Turning  all  the  leaves  to  gold, 

In  the  lawns  by  alders  shaded 
I  my  love  to  Nellie  told. 
As  we  stood  together,  gazing 
On  the  star-bespangled  dome. 
How  I  blessed  the  autumn  evening 
When  I  saw  sweet  Xellie  home  ! 

4  White  hairs  mingle  with  my  tresses. 
Furrows  steal  upon  ni}-  brow. 

But  a  love-smile  cheers  and  blesses 
Life's  declining  moments  now. 
Matron  in  a  snowy  kerchief. 
Closer  to  my  bosom  come ; 
Tell  me,  dost  thou  still  remember 
When  I  saw  sweet  Nellie  home? 

290 

Troubled  in  Mind 

Two  songs  are  here  brought  together  because  they  have  in  com- 
mon the  phrase  and  the  thought  wliich  I  have  chosen  for  title. 
Otherwise  they  are  quite  unlike.  Both  are  composites — as  folk 
lyrics  so  often  are — of  divers  elements.  Stanza  2  of  A  is  from 
'The  Cuckoo' ;  stanzas  3,  4,  and  6  belong  to  "The  Wagoner's  Lad.' 
Stanza  3  of  B  is  a  stock  piece,  separately  treated  in  the  present 
volume;  stanza  4  is  another,  likely  to  turn  up  anywhere  but  espe- 
cially in  Negro  jingles  about  animals.  For  the  "I'll  eat  when  Lm 
hungry,  I'll  drink  when  I'm  dry"  stanza,  which  goes  far  back  in 
English  balladry,  see  'Cornbread  When  I'm  Hungry,'  below,  and 
'Cindy,'  No.  404,  in  this  volume. 

A 

No  title.     Collected  from  James  York,  Olin,  Iredell  county,  in   1939. 

1  I'm  troubled.  I'm  troubled, 
Lm  troubled  in  mind. 

And  if  trouble  don't  kill  me 
I'll  live  a  long  time. 

2  The  lark  is  a  pretty  bird 
.\nd  she  sings  as  she  flies 
And  she  brings  tLs  glad  tidings 
That  summer  is  nigh. 

3  (  )h.   Polly,  ])retty   Folly, 

W  <ndd  you  think  it  tuikind 
If  I   shoidd  sit  by  \du 
And  tell  von  mv  mind  ? 


1"  ()  L  K      1.  Y  K  I  C  345 

4  My  iiiiiid  is  to  mai"r\- 
And  never  to  part  ; 

Tlie  tirst  time  1  saw  \(iu 
^'(•11  wdunck'd  nn-  heart. 

5  P^irewell.  pretty  I'olly, 
I'll  hid  you  adieu. 

I'm  ruined  forever 
Uy  loving  of  you. 

6  Your  i)arents  ddu't  like  me 

They  say  I'm  not  worthy 
( )f  knocking  their  door. 

7  Your  lii)s  are  enticing. 
Your  tongue  bids  me  come. 
If  angels  don't  like  me 

Oh  surely  I'm  done ! 

8  I've  strove  on  the  mountains, 
I've  strove  on  the  plains. 
I've  strove  to  forget  you, 
But  all  is  in  vain. 

9  I'll  eat  when  I'm  hungry, 
I'll  drink  when  I'm  dry; 
I'll  think  of  you,  Molly. 
And  sit  down  and  cry. 

10  I've  rambled  this  country 
Both  early  and  late. 

So  hard  is  my  fortune. 
My  troubles  was  great. 

1 1  And  since  it's  no  better 
I'm  glad  it's  no  worse; 
There's  whiskey  in  bottles 
And  gold  in  mv  i)urse. 


'I'm    Troubled.'      Collected   by   Julian    P.    Royd   in    1027   from    Catherine 
Bennett,  one  of  his  pupils  in  the  school  at  Alliance,  Pamlico  county. 

I      Beefsteak  for  my  breakfast. 
Whiskey  when  I'm  dry; 
Pretty  gals  when  I'm  funny, 
And  1  leben  when  I  die. 


,_,()  NORTH   CAROLINA  FOLKLORE 

Clionis: 

I'm  troubled,  I'm  troubled, 
I'm  troubled  in  my  mind, 
Troubled  'bout  de  pretty  little  gal, 
De  gal  I  left  behind. 

2  You  may  ride  de  borrowed  horse, 
I  will  ride  my  own. 

If  you  won't  bother  my  sweetheart 
I  won't  bother  yourn. 

3  If  I  had  a  scolding  wife 
I'd  whip  her  sho's  she  bo'n ; 

I'd  take  her  down  to  New  Cleans 
And  trade  her  ofif  for  co'n. 

4  Possum  up  de  'simmon  tree, 
Raccoon  on  de  ground ; 

De  raccoon  says  to  de  possum. 
'Won't  you  hand  me  a  'simmon  down?' 

291 

CORNBREAD  WhEN   I'm    HuNGRY 

Til  eat  when  I'tii  hungry,  I'll  drink  when  I'm  dry'  is  old  in 
English  balladry;  it  appears  in  an  eighteenth-century  print  {Rox- 
biirglic  Ballads  viii  613).  And  with  cornbread  and  whiskey  (some- 
times beefsteak  and  corn  li(iuor )  as  the  preferred  diet,  it  is  very 
widespread  in  the  Southern  states:  sung  in  Kentucky  (Shearin  38, 
SharpK  11  355),  Tennessee  (JAFL  xxviii  129),  Mississippi  (JAFL 
xxviii  181,  182),  and  the  Ozarks  (JAFL  xxviii  182,  OFS  in 
135-9).  'ind  also  by  the  Negroes  (Talley  114).  Stout  reports  it 
from  Iowa  (MAFLS  xxix  140).  The  second  stanza  of  A  is  re- 
ported as  Negro  song  by  Odum  (JAFL  xxiv  278)  and  the  first 
stanza  of  B  by  Perrow  (JAFL  xxviii  141)  and  by  White  (ANFS 
381).  See  also  'Troubled  in  Mind'  and  'Cindy'  in  the  present 
collection. 

A 

'Cdrnbreaci  When  I'm  Hungry.'  Reported  by  William  B.  Covington  as 
among  his  "reminiscences  of  my  early  youtli  spent  in  the  country  on 
tlie  l)orcler  of  the  sand  hills  of  Scotland  county."  He  calls  it  "the  sun- 
down song  of  the  plowboy." 

1      Cornbread  when   I'm  hungry. 
Corn  liquin-  when  I'm  dry. 
Pretty  girl  when  I'm  hard  up, 
In  heaven  when  1  die. 
I  don't  want  to  go. 
I  ddu't  want  to  go. 


>  0  L  K     LYRIC  347 

2     Make  mv  down  a  pallet 
And  lie  down  on  the  floor, 
Lie  down  on  the  floor. 
Lie  down  on  the  floor, 
Make  me  down  a  pallet 
And  lie  down  on  the  floor. 

B 

'Olc  Massa  in  de  Parlor."     Prom  Miss  Clara  Hearne  of  Pittsboro,  Cliat- 
ham  county,  in  1923. 

1  Ole  massa  in  de  parlor, 
Ole  missus  in  de  hall, 
Nigger  in  de  dinin'  room 
Farin'  de  bes'  of  all. 

2  It's  beefsteak  when  I'm  hungry. 
An'  whiskey  when  Lm  dry. 

It's  greenback  when  I'm  busted, 
An'  heaven  when  I  die. 

292 

Lonesome  Road 

Whether  or  not  this  image  of  the  lonely  road  conies  from  the 
spirituals — Negroes  are  especially  fond  of  it — it  seems  to  belong 
to  the  folk  song  of  the  South.  It  is  recorded  from  the  singing  of 
Negroes  in  Virginia  (TNFS  -t,),  North  Carolina  (ANFS  300-1), 
South  Carolina  (OSC  404),  Georgia  (JAFL  x  116),  and  without 
specific  location  by  Oduni  in  JAFL  xxiv  272  and  NWS  46;  and 
as  sung  apparently  bv  whites  in  Virginia  (SCSM  326,  O.SC  146-7), 
Kentucky  (FSKH  28-9,  SFLQ  in  115).  and  Florida  (SFLQ  viii 
188).  In  many  of  these  instances  it  is  just  an  element  in  a  song; 
the  texts  vary  widely.  For  the  spirit  displayed  in  stanzas  2  and  3 
of  A  and  4  of  B  compare  'A  False-Hearted  Lover'  in  Volume  II 
of  this  collection  and  BSM  476,  492. 

A 

'Lonesome  Road.'    Contributed  by  Miss  Gertrude  Allen  (afterwards  Mrs. 
R.  C.  Vaught)   from  Taylorsville,  Alexander  county.     No  date  given. 

1  Look  up,  look  down  that  lonesome  road 
\\  here  you  and  I  have  been,  my  love. 
Where  you  and  I  have  been. 

2  You've  slighted  me  once,  you've  slighted  me  twice, 
You'll  never  slight  me  any  more,  my  love. 

You'll  never  slight  me  any  more. 

3  There's  more  than  one,  there's  more  than  two. 
There's  more  pretty  girls  than  you,  my  love. 
There's  more  pretty  girls  than  you. 


348  NORTH  CAROLINA  FOLKLORE 

4  I  loved  you  once,  1  loved  you  twice, 

1  loved  you  more  than  cats  love  mice, 
Yes,  more  than  cats  love  mice. 

5  If  you  loved  me  like  I  loved  you 
No  knife  could  cut  our  love  in  two. 
Could  cut  our  love  in  two. 

B 

'Look  Up,  Look  Down  That  Lonesome  Road.'  From  Miss  Jane  Christen- 
bury.  a  student  at  Trinity  College.  Not  dated,  Init  proliably  in  1923. 
With  the  music. 

1  Look  u)),  look  down  that  lonesome  road. 
Hang  down  your  head  and  cry,  my  love. 
Hang  down  your  head  and  cry. 

2  You  slighted  me  once,  you  slighted  me  twice ; 
You'll  never  slight  me  any  more,  my  love, 
You'll  never  slight  me  any  more. 

3  You  slighted  me  for  that  other  girl ; 

So  now  you  may  take  her  and  go,  my  love, 
So  now  you  may  take  her  and  go. 

4  There's  more  than  one,  there's  more  than  two. 
There's  more  pretty  hoys  than  you,  my  love, 
There's  more  pretty  hoys  than  you. 

5  To  the  pines,  to  the  pines,  where  the  sim  never  shines 
And  it  shivers  when  the  cold  wind  hlows,  my  love. 
And  it  shivers  when  the  cold  wind  hlows. ^ 

6  The  hlackest  crow  that  ever  was  seen 
\\  as  flying  from  pine  to  pine,  my  love, 
Was  flying  from  pine  to  pine. 

7  The  longest  train  that  ever  had  run 

Was  going  down  old  Georgia  line,  my  love, 
Was  going  down  old  Georgia  line.- 

293 

You  Lovers  All,  to  You  I  Call 

'I'his  I  have  not  found  elscwliere,  hut  it  lias  a  definite  folk  (|uality. 

'^'()U  Lovers  .Ml,  to  You  I  Call.'  Contril)uted  by  L.  W.  .Anderson  of 
Nag's  Head  as  "sung  to  me  by  Mrs.  J.  A.  Best,  wlio  said  she  learned 
it  from  her  father,  whose  father,  Francis  Asbury  Meekins  (1818-81), 
also  knew  it." 

'  This  stanza  has  crept  in  from  another  song,  'hi  the  P'nes,  in  the 
Pines.  Where  the  Sun  Never  Shines.' 

"  The  last  two  stanzas  are  bits  of  the  floating  lyric  of  the  folk,  likely 
to  appear  in  almost  any  love  song. 


K  0  1,  K     I.  V  K  I  c  349 


1  You  lovers  all,  to  you  1  call. 
A  story  T  will  tell ; 

J  low   1,  a  swain,  courted  in  vain 
.\  maid  none  could  excel. 

2  I  fell  in  love  so  hard  to  move, 
To  you  I  will  express. 

But  to  my  grief  found  no  relief. 
For  she  was  pitiless. 

3  My  love  was  tall,  her  waist  was  small. 
She  was  in  all  complete. 

Her  hands  was  clean  as  ever  was  seen 
More  nicer  was  her  feet. 

4  Her  lily  breast,  I  do  protest. 
Was  colored  like  the  snow. 

Oh.  she  is  neat,  speaks  mild  and  sweet 
Cood-natured.  that's  also. 


294 

W'liEx  First  I  Seen  This  Lovely  Queen 

Although  I  have  not  found  it  elsewhere,  this  lively  song  bears  its 
own  authentication  as  folk  song.  The  interior  rhyme  in  the  first 
and  third  lines  of  each  stanza  suggests  an  origin  in  eighteenth- 
century  stall  print,  which  was  much  given  to  that   form  of  verse. 

'When  First  I  Seen  This  Lovely  Queen.'  Reported  by  L.  W.  Anderson 
of  Nag's  Head  as  "sung  to  me  by  Mrs.  J.  A.  Best,  who  said  she  learned 
it  from  her  father,  whose  father,  Francis  Asbury  Meekins  (1818-81), 
also  knew  it." 

1  When  first  I  seen  this  lovely  queen 
( )n  her  I  fixed  my  eyes. 

And  thought  in  time,  while  in  my  prime. 
To  gain  her  I  would  try. 

2  But  all  in  vain;  could  not  obtain 
This  virgin's  love  at  all. 

She'd  not  comply;  and  the  reason  why? 
My  portion  was  too  small. 

3  If  she  proves  coy  and  won't  comi)ly. 
No  grief  it  is  to  me. 

My  suit  ni  move,  and  hunt  a  love 
Perhaps  as  good  as  she. 


350  NORTH  CAROLINA  FOLKLORE 

Sweet  Birds 

This  love  song  seems,  from  the  number  of  copies  in  our  collection, 
to  be  something  of  a  favorite  in  North  Carolina.  It  has  been 
previously  reported  from  the  state  (BMFSB  58-9),  Davis  reports  it 
from  Virginia  (FSV  103),  and  Shearin's  syllabus  shows  that  it  is 
or  has  been  known  in  Kentucky.  Its  authorship  has  not  been  dis- 
covered. The  curious  use  of  "ferns"  for  "birds"  in  texts  C  and  G 
is  supported  if  not  explained  by  the  Beech  Mountain  text,  which 
makes  the  same  substitution.  Though  all  of  our  texts  clearly  de- 
rive from  a  common  original,  no  two  of  them  are  just  alike:  some- 
times even  new  rhymes  have  been  devised. 

A 

'Sweet  Birds.'     Contributed  by  Wagner  .\.  Reese  in  1921  or  1922;  locale 
not  noted.    With  the  music. 

1  The  birds  are  returning  their  sweet  notes  of  spring 
O'er  meadows  and  brooklets  so  near 

'Way  down  by  the  dell  where  they  joyttilly  sing 

A  message  of  hope  and  good  cheer, 

As  I  sit  in  the  dream  of  my  slumber  so  deep 

For  my  darling  far  over  the  sea. 

Jtist  ask  the  sweet  birds  as  they  drop  off  to  sleep. 

Oh,  say.  does  he  truly  love  me? 

Chorus: 

Sweet  birds,  sweet  birds. 

Oh.  say  that  my  lover  is  true. 

Sweet  birds,  sweet  birds. 

And  then  I'll  be  as  happy  as  you. 

2  Oh,  tell  me.  sweet  birds,  is  he  thinking  of  me 
And  the  promise  he  made  long  ago  ? 

I  would  gladly  give  all  this  world  if  he'd  come  l)ack  to  me. 

Oh,  why  do  the  years  roll  so  slow  ? 

I'm  weary  and  heart-sick  of  w^aiting  so  long 

For  my  darling  far  over  the  sea. 

Just  go  to  him  singing  your  beautiful  song 

And  tell  him  to  come  back  to  me. 

3  He  said  when  we  parted  he  loved  no  one  but  me. 
He  called  me  his  darling,  his  ])ride  ; 

He  said  when  he  came  from  over  the  sea 

YitW  make  me  his  own  cherished  bride. 

l>ut   I   tear  he  has  found  iii  some  tar  distaul  land 

Some  face  that  is  fairer  than  mine. 

I  would  give  all  this  world  for  one  clasp  of  his  hand 

And  know  that  his  heart  is  still  mine. 


r  ()  I.  K    1.  V  K  1  c  351 

J{ 

'Swcft  Bird.'  I-'roin  tlic  niaiuiscript  soiighook  of  Jiiaiiita  Tillitt,  Wan- 
chese,  Roanoke  Lslaiul,  ohtainoci  in  March  1923.  'I'hc  order  of  the  staiiza>i 
is  changed  liere,  and  there  are  many  minor  \ariations. 

1  Tell  nie.  sweet  bird,  is  he  thiiikiiiL;  ot  me 
And  the  promise  he  made  loiii^-  ai;u? 

If  he  wotild  return,  how  happy   I'd  be! 
Oh.  why  does  the  years  creep  so  slow  ? 
I'm  tired  and  heart-sick  of  waiting  so  long 
For  my  lover  who's  far  o'er  the  sea. 
Go  to  him  and  sing  him  yotir  heatitiftil  song 
And  tell  him  to  come  back  to  me. 

Chants: 

O  bird,  sweet  l^ird, 

Tell  me  my  lover  is  true ! 

O  bird,  sweet  bird, 

I'll   [be]  as  happy  as  you. 

2  He  told  me  when  parting  he  loved  only  me. 
He  called  me  his  joy  and  his  pride; 

Said  when  he  returned  from  over  the  sea 

He'd  make  me  his  own  happy  bride. 

I  fear  he  has  found  in  some  far  distant  land 

A  face  that  is  fairer  to  view. 

I'd  give  the  whole  world  for  a  grasp  of  his  hand 

.\nd  to  know  that  my  lover  is  true. 

3  \\'hen  the  birds  are  a-tuning  their  sweet  notes  of  spring 
And  the  brooks  and  the  meadows  I  see, 

Now  in  the  deep  they  joyously  sing 
And  the  silver  brooks  sparkles  so  clear, 
I'll  sit  myself  down  in  a  shadow  so  deep 
For  my  lover  who's  far  o'er  the  sea, 
I'll  ask  all  the  birds  as  they  go  off  to  sleep 
Do  they  think  that  he  truly  loves  me? 

c 

'Sweet  Fern.'^  Obtained  from  Mrs.  Minnie  Church  of  Heaton,  Avery 
county,  in  1930.  One  of  the  "fern"  texts,  and  differing  also  in  other 
details  from  A  and  l'>.  After  the  chorus  following  stanza  2  the  manu- 
script directs  :  "Yodel." 

I      Spring  time  is  coming,  sweet  lonesome  birds. 
Yotir  echo  in  the  woodland  1  hear  ; 
Down  in  the  meadow  so  lonesome  you  sing 
While  the  moonlight  is  shining  so  clear. 
But  I  know  he's  away  in  a  far  distant  land. 

^  Spelled  "firn"  througliout  in  the  manuscript. 
X.C.F.,  \u\.  Ill,  (25) 


352  NORTH     CAROLINA     F  O  L  K  L  0  R  E 

A  land  that  is  over  the  sea. 

(io  fly  to  him  singing  your  sweet  Httle  song 

And  tell  him  to  come  back  to  me. 

Clionts: 

Sweet  fern,  sweet  fern. 

Oh.  tell  me  is  my  darling  still  true? 

Sweet  fern,  sweet  fern. 

I'll  be  just  as  happy  as  you ! 

2  Oh,  tell  me.  sweet  fern,  is  he  thinking  of  me? 
In  a  promise  he  made  long  ago 

He  said  he'd  return  from  over  the  sea. 

Oh,  why  does  the  years  roll  so  slow? 

I  know  he's  away  in  a  far  distant  land, 

A  land  that  is  over  the  sea. 

Go,  fly  to  him  singing  your  sweet  little  song 

And  tell  him  to  come  back  to  me. 

3  Upon  my  finger  he  placed  a  gold  ring 
The  day  he  was  leaving  his  home. 

I  promised  I'd  be  his  own  dear  little  girl 

And  love  him  wherever  he'd  go. 

But  I  know  he's  away  in  a  far  distant  land, 

A  land  that  is  over  the  sea. 

Go,  fly  to  him  singing  your  sweet  little  song 

And  tell  him  to  come  back  to  me. 

D 

'Sweet  Birds.'  From  the  manuscript  soiigbuok  of  Miss  Lura  Wagoner 
of  Vox,  Alleghany  county,  where  it  is  dated  October  30,  191 1.  A  some- 
what reduced  version,  but  it  introduces  no  new  elements. 


'Sweet  Birds.'     An  anonymous  version,  but  no  doubt  authentic.     Its  last 
stanza  somewhat  expands  the  latter  part  of  stanza  2  of  A  : 

Oh,  why  do  the  days  glide  by  so  slowly, 

Oh,  why  do  the  days  seem  so  long? 

If  he  would  only  come  back  to  me. 

Oh,  then  how  happy  I  would  be  ! 

I  am  weary,  heart-sick  of  waiting  so  long 

For  my  darling  far  over  the  sea. 

Just  fly  to  him  singing  some  beautiful  song 

.And  tell  him  to  come  back  to  me. 

F 

'Sweet  Birds.'     /\    fragmentary  transcript  of  one  stanza  and  the  chorus 
from  a  record  ascribed  to  1.  G.  Greer  of  iioone,  Watauga  county. 


FOLK      I,  V  K  I  C  353 


'Sweet    Finn.'      The    chorus    only,    with    "firn"    for    "bird,"    reported    by 
Airs.  \'aught,  aijparently  from  Oakhoro.  Stanly  county. 

296 

Going  B.ack  West  "fore  Long 

A  Neg^ro  work  song  (NWS  124-5)  l)egins  'Tin  goin'  out  West," 
and  our  A  text  of  'Bonnie  Blue  Eyes'  begins  "I'm  going  out  west 
next  fall,"  but  this  fragment  seems  to  belong  to  neither. 

No  title.     From  Lucille  Cheek  of  Cliatham  county,  proliably  in   1923. 

Ciuing  back  West  'fore  long, 

Going  back  West  'fore  long, 

I  got  a  little  wife,  she  is  the  joy  <>f  my  life, 

And  I'm  going  back  West  'fore  long. 

297 
You  Caused  Me  to  Lose  Mv  Mind 

The  second  of  these  two  stanzas  is  a  commonplace  of  folk  love 
lyric  and  is  found  in  many  of  the  songs  in  this  section.  See  also 
BSM  484-5.  The  first  stanza  also  is  one  of  the  floating  elements 
of  folk  song;  see  'The  Midnight  Dew^'  above.  A  song  called  'Daisy' 
from  North  Carolina  (JAFL  vi  134)  and  a  text  of  'Shady  Grove' 
from  Tennessee  (JAFL  xxviii  183)  have  it,  though  with  "nearly 
drives  me  crazy"  instead  of  "you  caused  me  to  lose  my  mind." 

'You  Caused  Me  to  Lose  My  Mind.'     Contri!)uted  by  Effie  Tucker;   no 
date  or  place  indicated. 

1  Oh.  Mary  girl,  oh.  Mary  girl, 
What  makes  you  treat  me  so? 

Yoti  caused  me  to  weep,  you  caused  mc  to  mourn, 
You  caused  me  to  lose  my  mind. 

2  (Jh,  do  you  see  that  turkle  dove 
A-flying  from  pine  to  pine? 

She  mourns  for  her  own  true  love  ; 
Why  not  1  mourn  for  mine? 

298 

I  Wish  Th.\t  Girl  Was  Mine 

Shearin  in  his  Syllabus,  p.  38,  lists  as  known  in  Kentucky  a  song 
that  may  be  the  same  as  this.  Otherwise  it  seems  to  have  escaped 
the  collector's  net.     Is  it  a  play-party  song? 

'I  Wish  That  Girl  Was   Mine.'     From  the  manuscripts  of  G.  S.  Robin- 
son of  Asheville,  obtained  in  1939. 


354  NORTH  CAROLINA  FOLKLORE 

1  When  I  was  a  little  boy. 
Just  eighteen  inches  high, 

How  I'd  hug  and  kiss  those  girls 
To  see  their  mammas  cry ! 

Chorus: 

(_)h.  1  wish  that  girl  was  mine. 
Oh,  1  wish  that  girl  was  mine ! 
The  only  tune  that  I  can  play 
Is  T  wish  that  girl  was  mine.' 

2  I'll  have  my  banjo  painted  red. 

And  e\ery 

And  the  only  tune  1  can  play 

Is  T  wish  that  girl  was  mine.' 

3  ( )h,  you  better  quit  that  stealin' 
Kisses  on  the  sly. 

For  the  devil  he's  a-waitin' 
For  to  get  you  when  you  die. 

4  Well,  I'm  gonna  die  some  of  these  days, 
\\  hen  it  comes  my  time ; 

And  the  last  words  I  expect  to  say, 
T  wish  that  "irl  was  mine.' 


299 

Cripple  Creek 

The  discovery  of  precious  metals  at  Cripple  Creek.  Colorado,^ 
made  a  strong  impression  on  the  imagination  of  people  in  the  East. 
This  song  is  or  has  been  known  in  Virginia  (FSV  247-8),  Ken- 
tucky (Shearin  39,  SharpK  11  359),  Tennessee  (JAFL  xxviii 
180-1),  South  Carolina  (JAFL  xxviii  181),  Wisconsin  (JAFL  iii 
48),  Nebraska  (BTFLS  vi  40-1),  and  doubtless  elsewhere.  Ford, 
Traditional  Music  of  America  94,  reports  it  as  a  square  dance  song 
in  the  Middle  West. 

A 

No  title.     Contributed  by  Miss  Gertrude  Alien    (afterwards   Mrs.   R.  C. 
Vaught)    from  Taylorsville,  Alexander  county.     Not  dated. 

1     Going  up  Cripple  Creek, 
(joing  up  town, 
(joing  up  Cripple  Creek 
To  see  Sally  Brown. 

^  Perrow,  in  a  note  to  his  text  from  Tennessee  mountain  whites  (JAFL 
XXVIII  180),  says  that  Cripple  Creek  is  "a  well  known  mining  district 
in  Virginia"  (in  Wythe  county,  in  the  western  neck  of  the  state).  But 
the  Nebraska  text  says  expressly  "I  come  from  Cripple  Creek,  Colorado." 


FOLK     L  V  K  1  C  355 


2  L'p  the  rixtT 

And  across  the  creek. 
Never  get  a  letter 
But  twice  a  week. 

3  Going  up  Cripple  Creek, 
Going  on  the  run. 
Going  up  Cripple  Creek 
To  have  a  little  fun. 


B 


'Cripple  Creek.'  From  Mrs.  Arthur  Moore  of  Lenoir,  Caldwell  county. 
in  iy22.     One  stanza  only — the  last  stanza  of  A.     With  the  tune. 

300 

My  Martha  Ann 

Better  known  as  'My  Mary  Ann'  (Heart  Songs  246;  JAFL  .\xxi 
175-6,  from  the  Province  of  Quebec),  this  is  one  of  the  many 
detritus  lyrics  current  in  ore  popnli.  The  text  from  Quebec  and 
that  in  Heart  Songs  are  essentially  the  same  as  ours  except  for 
the  name.  Less  closely  related  are  texts  from  West  Virginia  (FSS 
433-4)  and  Tennessee  (F'SSH  207). 

'My  Martha  Ann.'  Contributed  by  the  Misses  Holeman  of  Durham  in 
1922,  with  the  notation:  "Found  in  old  desk  purchased  in  Person  county." 
The  first  of  these  three  stanzas  is  really  the  chorus. 

1  Oh.  fare  ye  well,  my  own  Martha  Ann. 
Fare  ye  well  for  a  while  : 

This  ship  is  ready  and  the  wind  is  fair 
And  I  am  hound  to  sea.  Martha  Ann. 

2  Oh.  don't  you  see  a  turtle  dove 
Sitting  on  yonder  pile.^ 

Lamenting  the  loss  of  his  own  true  love 
As  I  do  for  my  Martha  Ann  ? 

3  A  lobster  in  a  lobster  pot. 
A  blue-fish  on  a  hook. 

May  sufifer  some,  but  you  know  not 
What  I  do  feel  for  my  Martha  .\im. 

301 

High-Topped  Shoks 

Two  songs  in  the  collection  are  held  together  only  by  the  (|uery 
about  the  high-topped  shoes,  but  it  furnishes  the  title  for  l)oth.  The 
A  text  begins  with  the  shoe-and-glove  dialogue  from  "The  Lass  of 

^  Other  texts  of  this  stanza — see  for  instance  'The  Turtle  Dove'  in 
the  present  collection — show  that  "pile"  .should  be  "pine." 


356  X  O  R  T  H     CAROLINA     FOLKLORE 

Roch  Royal,'  proceeds  to  a  bitter  denunciation  of  a  false  lover,  and 
closes  with  the  stanza  about  the  hig-h-topped  shoes.  The  B  text 
starts  with  the  his:h-topped  shoes  and  passes  on  to  a  veritable  med- 
ley that  includes  reminiscences  of  'The  Lonesome  Road,'  'The  In- 
constant Lover,'  and  other  songs.  There  is  also  in  the  Collection 
a  record  of  this  song  as  sung  by  Bonnie  and  Lola  Wiseman  at  Hin- 
son's  Creek,  Avery  county,  in  1939. 


'Those  High  Topped  Shoes."     As  sung  by  Herman  Houck  of  Jefferson. 
Ashe  county.    There  is  no  indication  of  the  date.    A  recording  was  made. 

1  'Who's  going  to  shoe  those  little  feet. 
Or  glove  those  little  hands? 

And  who's  going  to  kiss  those  rosy  cheeks 
Way  in  some  foreign  land  ?' 

2  'Papa  will  shoe  those  little  feet 
And  glove  those  little  hands' ; 
'And  I  will  kiss  those  rosy  cheeks 
\\  ay  in  some  foreign  land.' 

3  'Sometimes  I  wish  I'd  never  been  born 
Or  had  died  when  I  was  yotmg. 

And  never  had  seen  that  smiling  face 
Or  heard  that  lying  tongtie.' 

4  'Oh,  where  did  you  get  those  high  topped  shoes. 
That  dress  that  fits  so  fine  ?' 

T  got  those  shoes  from  a  railroad^  man 
And  my  dress  from  a  driver  in  the  mines.' 

B 

'High  Topped  Shoes.'     Obtained  from  Rosa  Efird  of  Stanly  county.     Not 
dated. 

1  rj)h,  where  did  you  get  your  high  topped  shoes 
And  the  dress  you  wear  so  fine,  ni}-  love, 
And  the  dress  you  wear  so  fine  ? 

2  I  got  my  shoes  from  a  railroad  man. 
My  dress  from  a  driver  in  mind. 
And  my  dress  from  a  dri\er  in  mind. 

3  The  short  cross  ties  and  the  long  steel  rails 
Was  the  cause  of  me  leaving  my  home,  my  love. 
Was  the  cause  of  me  leaving  my  home. 

4  The  longest  train  that  I  ever  saw 

Was  around  John  Raleigh's  grave,  mv  love. 
Was  around  John  Raleigh's  grave. 

'  An    alternative — or    an    explanation — of    this    word    is    given    in    the 
manuscript :  "gaml)ling." 


K  ()  I.  K     1.  V  U  1  c  357 

5  'l"he  engine  passed  at  halt   past  nine. 

The  cars  were  passing-  at  twelve,  my  l(>\e. 
The  cars  were  passinji;  at  twelve. 

6  Look  nj).  look  down  that  lonesome  road; 
llang  down  yonr  head  and  cry.  my  love, 

I  lani^-  down  your  head  and  cry. 

7  There's  more  than  one.  there's  more  than  two, 
There's  more  pretty  j;irls  than  you,  my  love, 
There's  more  pretty  girls  than  you. 

8  You  turned  me  down  for  the  other  fellow  ; 
So  take  him  now  and  go.  my  love. 

So  take  him  now  and  go. 

9  You  fooled  me  once,  you  fooled  me  twice. 
But  you  cannot  fool  me  again,  my  love, 
But  you  cannot  fool  me  again. 

302 

Who's  Gonna  Love  You,  Honfa? 

Tills  fragment  of  folk  lyric  1  have  not  found  elsewhere. 

'Who's    Gonna   Love   You,    Honey?"      Reported   in    1922   by    Miss    Doris 
Overton    (later   Mrs.   Kenneth    M.   Brim)    from   Greenville.   Pitt   county. 

Who's  gonna  love  you.  honey,  when  I'm  away? 
Who's  gonna  stay  and  say  sweet  things  every  day? 
Who's  gonna  look  into  your  eyes  divine? 
Who's  gonna  kiss  those  lips  that  I  call  mine? 
Who's  gonna  do  those  things  Lve  done  for  you? 
Who's  gonna  love  you  when  Lm  gone? 

303 

Oh,  Where  Is  My  Sweetheart? 

Although  this  has  not  been  found  elsewhere,  it  seems  pretty  clearly 
to  be  a  folk  lyric  of  the  same  general  temper  as  'Adieu  to  Cold 
Weather'  in  the  Missouri  collection  (BSM  491--.) •  There  are  three 
texts  in  the  North  Carolina  Collection. 

A 
'Oh,   Where    Is    My    Sweetheart?'      From    the    inanuscri])!    songbook    of 
Miss  Lura  Wagoner  of  Vox,  Alleghany  county. 

I      (  )h,  where  is  my  sweetheart?  Can  anyone  tell? 

Uh,  where  is  my  sweetheart?  Can  anyone  tell? 

Oh,  where  is  my  sweetheart?  Can  anyone  tell? 
Can  anvone,  anvone  tell  ? 


358  NORTH  CAROLINA  FOLKLORE 

2  He  is  flirting  with  another,  I  know  very  well. 
He  is  flirting  with  another,  I  know  very  well. 
He  is  flirting  with  another,  I  know  very  well, 
1  know.  I  know  \ery  well. 

3  Just  tell  him  keep  on  his  flirting.  I'm  sure  I  don't  care, 
Just  tell  him  keep  on  his  flirting,  I'm  sure  I  don't  care, 
Just  tell  him  keep  on  his  flirting,  I'm  sure  I  don't  care, 
I'm  sure.  I'm  sure  I  don't  care. 

4  He  told  me  he  loved  me  ;  he  told  me  a  lie. 
He  told  me  he  loved  me ;  he  told  me  a  lie. 
He  told  me  he  loved  me ;  he  told  me  a  lie, 
He  told  me.  he  told  me  a  lie. 

5  Doggone  him,  I  hate  him ;  I  wish  he  would  leave. 
Doggone  him,  I  hate  him ;  I  wish  he  would  leave. 
Doggone  him,  I  hate  him ;  I  wish  he  would  leave, 
I  wish.  I  wish  he  would  leave. 

6  I've  found  me  another  I  love  just  as  well. 
I've  found  me  another  I  love  just  as  well, 
I've  found  me  another  I  love  just  as  well, 
I  love,  I  love  just  as  well. 

7  God  hless  him.  1  love  him,  I  wish  he  was  mine. 
God  bless  him,  I  love  him,  I  wish  he  was  mine. 
God  bless  him,  I  love  him,  I  wish  he  was  mine, 
I  wish,  I  wish  he  was  mine. 

B 

'Oil.  Where  Is  My  Sweetheart?'  Contributed  by  Ella  Smith;  it  is  not 
clear  whether  from  Johnston,  or  Pitt,  or  Yadkin  county.  Four  stanzas. 
The  first  two  correspond  to  the  first  two  of  A.  except  that  in  stanza  2 
"I  know  very  well"  becomes  "I  know^  him  too  well."  Stanza  3  cor- 
responds to  stanza  5  of  A  except  that  "I  wish  he  would  leave"  becomes 
"I  wish  he  were  dead."     And  it  closes: 

Ciod  l:)less  him,  I  love  him;  I'll  take  it  all  back. 
( lod  bless  him,  I  love  him  ;  I'll  take  it  all  back, 
I'll  take  it,  I'll  take  it  all  back. 

c 

'Oh.  Where  Is  My  Sweetheart?'  Contributed  by  M.  Masten  of 
Winston-Salem  in  1914.  This  has  so  many  minor  variations  from  A 
that  it  is  given  entire,  except  for  the  repetition  of  the  lines.  The  first  line 
of  each  stanza  is  sung  three  times,  as  in  A. 

1  (  )h.  where  is  m\-  true  love?     Can  anyone  tell? 
Can  any.  anyone  tell  ? 

2  lie's  courting  another.  I  kncjw  it  too  well, 
1  l<now.   I  know  it  too  well. 


FOLK      I.  V  K  I  C  359 

3  Just  k'l  him  keep  courting:;.  I'm  sure  1  dou't  care, 
Tin  sure.  I'm  sure  1  don't  care. 

4  lie's  tall  and  he's  handsome  and  he  wears  a  l)hie  tie, 
lie  wears,  he  wears  a  blue  tie. 

5  I  told  him  that    I   loved  him.   I  told  him  the  truth, 
I  told  him.  1  told  him  the  truth. 

6  lie  told  me  he  loved  me.  he  t(jld  me  a  lie. 
He  told,  he  told  me  a  lie. 

7  (k)d  bless  him,  I  love  him.  go  briny  him  to  me. 
Go  bring,  go  bring  him  to  me. 

8  Doggone  him.  I  hate  him.  1  wish  he  was  dead, 
I  wish,  I  wish  he  was  dead. 


304 

Like  an  Owl  in  the  Desert 

One  of  the  fragments  of  folk  lyric  that  float  about  in  the  mem- 
ories and  on  the  tongues  of  ballad-singing  folk.  Like  it  in  temper  is 
a  song  from  Mississippi  (JAFL  xxviii  169-70)  and  another  from 
Missouri  (BSM  493)  ;  but  neither  has  the  image  of  the  owl. 

'The  Owl  in  the  Desert.'  Contributed  by  Thomas  Smith  of  Zionville. 
Watauga  couuty.  in  March  1915.  with  the  notation :' "Old  love  song 
sung  by  Mrs.  Peggy  Perry,  March  11.  1915.  She  heard  this  sung  when 
a  girl  over  60  years  ago." 

1  Like  an  owl  in  the  desert 
I  weep,  mourn,  and  cry  ; 
If  love  should  overtake  me 
I  surely  would  die. 

2  I  can  love  like  a  loveyer 
A  nd  I  can  love  long ; 

I  can  love  an  old  sweetheart 
Till  a  new  one  comes  along. 

3  1  can  love  him  and  kiss  him 
And  keep  him  confined. 
And  turn  my  back  on  him. 
And  also  my  mind. 


305 
The  Lonesome  Dove 

This  widower's  lament  has  not  been  traced  to  its  origin,  but  it  may 
afely  be   assumed  to   be  an    inheritance    from   the   somewhat   lach- 


360  NORTH  CAROLINA  FOLKLORE 

ryniose  religious  sentiment  so  pervasive  in  the  early  nineteenth  cen- 
tury. It  has  been  reported  as  popular  song  from  Pennsylvania, 
Virginia,  Kentucky,  Tennessee,  Georgia.^  Missouri,  and  Wisconsin, 
and  is  no  doubt  known  elsewhere.  Our  North  Carolina  text  is  con- 
siderably reduced  from  the  full  form  reprinted  by  Jackson  from 
The  Social  Harp  of  1855.  The  tune,  as  sung  by  Mrs.  Joseph  ^Miller 
of  Silverstone  in  1922,  is  on  Record  7-V.  See  BSM  486,  and  add 
to  the  references  there  given  Virginia  (FSV  113),  Missouri  (OFS 
IV  39-40),  and  Wisconsin  (JAFL  lii  13-4). 

'The  Lonesome  Dove.'  Contributed  by  Thomas  Smith  of  Zionville, 
Watauga  county,  with  the  notation  that  he  sends  it  "because  it  has  been 
sung  for  so  many  years  (probably  near  100)  in  this  county.  Mrs.  Chane 
Smith,  Zionville,  says  she  heard  it  when  a  child,  which  was  near  80 
years  ago.  Mrs.  Julia  Grogan,  Silverstone,  N.  C.  sang  the  song  recently 
for  me.  She  says  her  father,  John  Yarber,  used  to  sing  'The  Lonesome 
Dove.'  "     The  stanza  division  is  based  on  Jackson's  Georgia  text. 

1  One  day  while  in  a  lonesome  grove 
Sat  o'er  my  head  a  little  dove ; 
For  her  lost  mate  began  to  coo. 

It  made  me  think  of  my  love,  too. 

2  Oh,  little  dove,  you  are  not  alone, 
For  I,  like  you,  am  left  to  mourn. 

3  Consumption  seized  my  love  so  dear ; 
She  lingered  there  for  one  long  year 
Until  death  came  at  break  of  day 
And  stole  my  loving  wife  away. 

4  But  death,  grim  death,  did  not  stop  here. 
I  had  one  child,  to  me  most  dear. 
Death,  like  a  vtilture,  came  again 

And  took  from  me  my  little  Jane. 

5  But,  bless  the  Lord,  his  w(jrds  are  given 
Declaring  babes  are  heirs  of  heaven. 

306 

By  By,  My  Honey 

A  composite  of  familiar  motives:  the  shoe-and-glove  dialogue 
from  'The  Lass  of  Roch  Royal,'  the  lonesome-road  motive,  and  a 
lover's  mocking  farewell.  See  'The  Lonesome  Road.'  'The  False 
True-Lover,'  'Kitty  Kline,'  and  'High-Topped  .Shoes,'  in  this 
volume. 

'By  By,  Aly  Honey.'  From  the  manuscript  book  of  songs  of  Miss  Lura 
Wagoner  of  Vox,  Allegiiany  count.\,  lint  to  Dr.  Brown  in  1936. 

'  Jackson  (SFSEA  63-4)  reprints  a  full  text  of  nine  stanzas  from 
The  Sdcitil  Har/^,  which  was  compiled  liy  a  Georgian  and  published  in 
Philadelphia  in  1855.  He  notes  tiiat  in  this  volume  the  song  is  credited 
to  William  C.   Davis,  l)ut  lie  discredits  tbis  attribution. 


F  O  L  K      I-  \    K  1  C  361 

1  "Who  will  sh(i(.'  your  pretty  littU'  foot, 
(  )li,  who  will  gU)\e  ytmr  hand. 

Darling,  who  will  kiss  your  sweet  rosy  cheek 
While  1  am  in  a  western  land  ?' 

Chunts: 

By  hy,  my  honey,  hy  hy,  I  say, 

By  hy,  my  honey.  1  am  gone. 

I'll  meet  you  at  the  station;  I've  done  you  no  harm  ; 

I'll  meet  von  at  the  station  as  the  train  rolls  hy. 

2  'Papa  will  shoe  my  pretty  little  feet, 
Mama  will  glove  my  hands. 

Darling  sister  will  kiss  my  sweet  rosy  cheeks 
When  you  are  in  a  western  land.' 

3  'Look  up  and  down  that  lonesome  road, 
Hang  your  head  and  cry. 

You  are  the  girl  that  slighted  me ; 
I  will  love  you  the  day  I  die.' 

4  'Had  you  not  been  going  to  marry  me 
You  ought  to  have  told  me  so. 

For  I  would  have  been  a  married  girl. 
Yes.  months  and  months  ago.' 

307 

I  Love  Little  \\'illie,  I  Do,  AI.\mma 

This  little  ditty  is  something-  of  a  favorite  in  North  Carolina,  as 
the  number  of  texts  in  our  collection  shows.  It  is  reported  as  folk 
song  also  from  Virginia  (  F.SV  196-7).  Tennessee  (FSSH  282-3), 
North  Carolina  (FS.SH  281-2.  SHF  10- 1.  lAFL  xlv  43-4).  Geor- 
gia (SSSA  23).  Texas  (PFLST  vi  227),  and  Arkansas  (OFS  iv 
98-100),  and  is  included  in  ABFS  and  in  Miss  Pound's  syllabus. 
Closely  allied  but  not  identical  with  it  is  T  Love  Somebody.'  re- 
ported' from  Kentucky  (ASb  140-4)  and  Tennessee  (JAFL  xxviii 
183).  The  texts  for  the  most  part  follow  the  same  pattern,  so  tliat 
it  will  not  be  necessary  to  give  them  all  ;';;  cxtoiso. 

A 

'Billy  Boy.'  Secured  by  Gertrude  Allen  (before  she  became  Mrs. 
Vaught)  from  a  pupil  of  hers.  Pansy  Jordan,  in  the  school  at  Oakboro. 
Stanly  county.  The  series  in  this  is  "I  love  little  Willie."  "He  carried 
my  school  books."  "He  gave  me  a  ring,"  "VVc  are  going  to  git  married," 
"He's  gone   for  tlie  license,"  and  "We  are  already  married." 

B 
I   Love  Little  Willie.'     This  too  is  from   Miss   Allen,   now   from   Alex- 
ander county — sent  in  apparently  about  1928-29. 


362  NORTH   CAROLINA  FOLKLORE 

1  I  love  little  \\  illie,  I  do.  dear  ma, 
I  love  little  Willie,  lia  ha,  ha  ha, 

I  love  little  Willie  but  don't  you  tell  papa. 
For  he  won't  like  it.  you  know,  dear  ma. 

2  He  carried  my  school  books,  he  did,  dear  ma, 
He  carried  my  school  books,  ha  ha.  ha  ha. 

He  carried  my  school  books  but  don't  you  tell  papa. 
For  he  won't  like  it.  you  know,  dear  ma. 

3  He  asked  me  to  marry  him.  he  did.  dear  ma. 
He  asked  me  to  marry  him,  ha  ha.  ha  ha. 

He  asked  me  to  marry  him  but  don't  you  tell  papa, 
For  he  won't  like  it.  you  know,  dear  ma. 

4  He's  gone  for  the  license,  he  has,  dear  ma. 
He's  gone  for  the  license,  ha  ha,  ha  ha, 

He's  gone  for  the  license  but  don't  you  tell  papa. 
For  he  won't  like  it,  you  know,  dear  ma. 

5  We're  already  married,  we  are,  dear  ma, 
We're  already  married,  ha  ha,  ha  ha. 

We're  already  married  but  don't  you  tell  papa, 
For  he  won't  like  it,  you  know,  dear  ma. 

c 
'Don't  Tell  Pa.'  From  the  Misses  Holeman.  Durham.  1922.  Four 
stanzas.  The  series  runs  "I  have  a  new  sweetheart,"  "He  told  me  he 
loved  me."  "'I'm  engaged  to  be  married."  "And  now  I  am  married" ; 
and  the  refrain  line  at  the  end  of  tlie  stanzas  is  "For  you  Know  I  can't 
help  it;  now  can  I,  Mamma?"  up  to  the  last  stanza,  which  ends: 

And  now  T  am  married,  and  you  can  tell  Pa, 

For  you  know  lie  can't  help  it,  now  can  he,  Mama? 

D 

'Don't  Tell  Pa.'  From  Miss  Florence  Ht)lton,  Durliam,  in  1922.  The 
series  runs  "I  love  little  Willie."  "He  sent  me  a  letter."  'And  now  we 
are  engaged,"  "At  last  we're  married."  and  the  final  stanza  runs  : 

You  can  come  home  to  see  us,  ha.  ha.  ha,  ha. 
You  can  come  to  see  us,  you  can,  mama. 
You  can  come  to  see  us,  but  don't  you  bring  pa. 
'Cause  he  might  grumble,  you  know.  mama. 

E 

'Sweet  Willie,'  or  'Don't  Tell  Papa.'  I'roni  Carl  C.  Knox,  Dnrliam, 
student  at  Trinity  College,  1922-24.  The  opening  stanza  only,  with  the 
air. 

V 

'I  Love  Little  Willie.'  hroin  Lucille  Cheek,  L'iiatham  ctumty,  in  I9^3- 
Opening  stanza  only. 


!•■  ()  L  K      I,  V  K  I  C  363 

G 

No  title.  Contril)uted  by  Miss  Annie  Hanikn,  but  witboiit  any  indicati()i\ 
of  time  or  place.  Five  stanzas,  witli  tlie  series  "I  love  little  Willie," 
"He  wrote  me  a  letter,"  "He  gave  me  an  orange."  and  "We  are  going 
to  get  married,"  and  ending: 

Voii  must  c(jnie  to  .see  us,  you  must.  mama. 
Vou  must  come  to  see  us,  you  must,  mama, 
You  must  come  to  see  us,  and  you  must  bring  pa, 
Or  he  won't  let  }'oti.  you  know.  mama. 

H 

"Don't  Tell  Pa.'  I""roni  the  manuscript  of  Obadiah  Johnson  of  Cross- 
nore.  Avery  county.  The  series  is  "I  love  little  Willie,"  "He  gave  me 
a  ring,"  "He  ask  me  to  marry."  "He's  gone  for  the  license,"  "The 
preacher  is  coming,"  "And  now  we  are  married"  ;  and  it  closes 

and  you  can  tell  pa. 
For  he  can't  help  it.  you  know,  my  ma. 


'I've  got  a  New  Sweetheart.'  Copied  out  l)y  Dr.  White  from  a  manu- 
script notebook  lent  to  him  in  1943  by  Mrs.  Harold  (ilasscock  of  Durham, 
who  learned  the  songs  in  the  book  from  her  parents,  and  can  sing  most 
of  them.  The  text  is  fragmentary,  and  seems — in  the  first  stanza  at 
least — to  require  a  different  rhythm  from  the  others. 

1  I've  got  a  new  sweetheart. 
He  told  me  he  loved  me. 
He  gave  me  a  gold  ring. 

W  e're  going  to  be  married. 

2  I'm  going  to  be  married,  ha  ha,  mama, 

I'm  going  to  be  married,  but  don't  you  tell  pa, 
I'"or  how  can  I  help  it.  how  can  I.  mama? 

3  He  gave  me  a  gold  ring,  ho  ho,  mama. 
He  gave  me  a  gold  ring,  ha  ha,  mama. 

He  gave  me  a  gold  ring,  btit  don't  you  tell  i)a, 
b^or  how  could  I  help  it,  how  could  I,  mama? 

308 
Thk  Lords  of  Crkation 

This  amusinf::  ([uij)  about  the  female  of  the  species  is  perhaps  not 
folk  song  strictly  speaking,  hut  it  has  acquired  something  like 
traditional  status  "in  'Virginia  (FSV  333).  Missouri  (  BSM  432-3), 
and  North  Carolina.  For  the  complete  text  see  the  Missouri  ver- 
sion— where,  however,  the  stanza  form  is  slightly  different. 

'Obey.'  From  Miss  Amy  Henderson  of  Worry,  Burke  county,  prob- 
ably in  1914  or  1915,  with  the  note:  "Part  of  an  old  song." 


364  NORTH  CAROLINA  FOLKLORE 

1  Ye  lords  of  creation,  men  ye  are  called, 
You  think  you  rule  the  whole ; 
You're  much  mistaken,  after  all, 

For  you're  under  woman's  control, 
.  As  ever  since  the  world  began 
'T  'as  always  been  the  way. 
For  did  not  Adam,  the  very  first  man, 
The  very  first  woman  obey  ? 
Obey,  obey,  obey,  obey. 
The  very  first  woman  obey  ? 

"Don't  know  the  next  verse,  but  the  last  two  lines  are" 

2  As  long  as  a  woman's  possessed  of  a  tear 
She  will  certainly  have  her  own  way. 

3  Should  there  be  so  strange  a  wight 
As  not  to  be  ruled  by  a  tear, 

Tho'  much  astonished  by  the  sight 
There's  still  no  cause  for  fear. 
For  as  long  as  a  woman's  possessed  of  a  smile 
Your  power  will  vanish  away. 

4  For  ever  since  the  world  began 
'T  'as  always  been  the  way. 

And  we'll  manage  it  so  that  the  very  last  man 

Shall  the  very  last  woman  obey, 

Obey,  obey,  obey,  obey. 

Shall  the  verv  last  woman  obey  ! 


309 

Poor  Married  Man 

The  hardships  of  the  liusband  are  not  as  frequent  topics  of  folk 
song  as  the  woes  of  the  wife,  but  they  receive  some  attention — 
most  often,  as  here,  in  music-hall  songs.  Shearin  in  liis  Syllabus 
of  Kentucky  folk  song  mentions  one  something  like  this,  but  witli  a 
different  verse-scheme.  Otherwise  it  has  not  been  found  in  regional 
collections. 

A 

'Poor  Married  Man.'     Secured   from  Alexander  Tugman  of  Todd,  Ashe 
county,  in  1922.     With  the  tune. 

1      You  may  talk  about  the  joys  of  the  sweet  honey-moon  ; 
They  are  nice,  I'll  agree,  while  they  last ; 
But  almost  every  case  they're  done  too  soon 
And  numbered  with  the  things  of  the  past. 
The  trials  and  the  troubles  are  soon  to  begin  ; 


r  ()  L  K    L  V  u  1  c  365 

Although  you  uiay  do  what  you  cau, 

You'll  wish  you  were  out  of  ihc  clatter  and  the  din 

That  follow  the  poor  married  man. 

Clionis: 

With  the  racket  and  the  nniss  and  the  trouhle  and  the 

fuss. 
His  face  all  haggard  and  wan. 
You  can  tell  hy  his  clothes  wherever  he  goes 
That  he  is  a  poor  married  man. 

2  He  works  all  day  and  tries  to  be  gay 
And  forget  all  his  worry  and  care. 

He  whistles  it  down  as  he  goes  through  town 

Though  his  heart  is  full  of  despair. 

His  very  last  cent  has  already  been  spent. 

And  at  home  tiiere's  IMollie  and  Dan 

Both  crying  for  shoes  ;  and  it  gives  him  the  blues 

To  think  he's  a  poor  married  man. 

3  When  he  goes  to  bed  with  his  poor  tired  head 
He  lies  on  the  edge  of  the  rail. 

And   the   colic   and   the   croup   make   him   jumi)   up   and 

whoop 
Like  a  dog  with  a  can  to  his  tail. 
He  must  run  and  walk,  he  must  sing  and  rock. 
He  must  get  up  some  water  and  a  fan. 
He  must  bounce  and  leap  and  do  without  sleep 
If  he  is  a  poor  married  man. 

4  From  his  mother-in-law  he  gets  nothing  but  jaw, 
No  matter  how  hard  he  may  try. 

To  keep  her  tune  she  will  fly  onto  him 

x^nd  all  of  his  wishes  defy. 

He's  a  fool,  he's  a  brute,  and  he  never  can  suit. 

Though  he  does  the  very  best  that  he  can ; 

He'd  better  be  dead,  for  it  then  could  be  said 

He's  at  rest — he's  a  poor  married  man. 


'Poor   Married   Man.'     From    Beulah   Walton   of   Durliam,   in    i()23. 
single  stanza,  made  up  from  tlie  chorus  and  hits  of  other  stanzas. 

It  gives  him  the  blues  when  they're  crying  for  shoes, 
Tho'  he  does  the  very  best  that  he  can. 
You  can  tell  by  his  clothes  everywhere  that  he  goes 
That  he  is  a  poor  married  man. 


366  NORTH      CAROLINA     FOLKLORE 

310 

The  Black-Eyed  Daisy 

The  second  of  the  two  stanzas  given  below  has  been  reported  as 
Negro  song  from  South  CaroHna  (JAFL  xliv  424)  and  from  Ala- 
bama (ANFS  68).  Mrs.  Steely  found  the  song  in  the  Ebenezer 
community  in  Wake  county. 

'The   Black-Eyed   Daisy."     Reported   by  Jennie   Belvin   uf   Durham   some 
time  in  1920-21.     With  the  tune. 

1  Send  for  the  fiddle  and  send  for  the  bow. 
Send  for  the  black-eyed  Daisy. 

Don't  reach  here  by  the  middle  of  the  week. 
It's  almost  run  me  crazy, 
Almost  run  me  crazy. 

2  Who's  been  here  since  I  been  gone? 
Send  for  the  black-eyed  Daisy. 
Pretty  little  girl  with  the  red  dress  on. 
Send  for  the  black-eyed  Daisy, 
Send  for  the  I)lack-eyed  Daisy. 


311 
Black-Eyed  Susie 

Randolph   (OFS  in  380)   reports  this  from  Arkansas  as  a  play- 
party  song  and  gives  references  for  its  appearance  elsewhere. 


'Black-Eyed  Susie.'  Contributed  in  191 5  or  thereabouts  by  Thomas 
Smith  of  Zionville,  Watauga  county,  with  the  notation  that  it  was 
"popular  a  good  many  years  ago.  I  recall  hearing  it  picked  and  sung 
by  a  young  banjo  picker  nearly  thirty  years  ago.  Jew's-harp  players 
of  this  place  also  used  to  be  strong  on  this  tune.  There  were  other 
verses  but  I  don't  recall  them." 

1  Sweeter'n  sugar  and  ten  times  sweeter. 
Bless  her  soul,  I  could  almost  eat  her. 

Chorus: 

Oh.  my  purly  little  black  eyed  Stisie 
Oh.  my  purty  little  black  eyed  Susie 

2  Fry  a  little  meat  and  make  a  little  gravy. 
Hug  my  wife  and  kiss  my  baby. 


'Black-Eyed    Susy.'      From    Lini    Hawkins    <>i    Mick's    ("reek,    McDowel 
county.     One  stanza  only. 


F  ()  I.  K      1.  V  K  1  C  367 

Some  conic  drunk  and  sonic  come  boozy, 
Some  come  a-huggin'  that  black-eyed  Susy ; 
Some  come  drunk  and  some  come  boozy, 
Dog  my  buttons  if  I  don't  kjve  Susy! 

312 

A  Housekkei'er's  Tragedy 

Although  the  theme  of  this  song,  the  drab  life  of  the  overworked 
housewife,  is  familiar,  especially  in  that  favorite  song  of  the  South- 
ern mountains,  "How  hard  is  the  fortune  of  all  womankind,"  this 
particular  development  of  the  theme  has  not  been  found  elsewhere. 
The  nearest  to  it  that  I  have  found  is  "A  woman's  work  is  never 
done,'  reported  from  Berkshire  in  Sharp's  Folk-Songs  of  England 
IV  30-3 ;  but  this  is  less  bitter  and  does  not  end  in  the  woman's 
death.  It  is  not  improbable  that  our  North  Carolina  song  is  orig- 
inally new  s])aper  verse  by  some  local  poet. 

A 

'A   Housekeeper's   Tragedy.'      Sung   t)y   OI)adiali   Johnson   of   Crossnore, 
Avery  county,  July   14,   1940. 

1  One  day  as  I  wandered  I  heard  a  complaining 
And  saw  a  poor  woman,  the  picture  of  gloom. 

She  glared  at  the  mud  on  her  doorstep — 'twas  raining — 
And  this  was  her  wail  as  she  wielded  her  ])room : 

Chorus: 

'Oh,  life  is  toil  and  love  is  a  trouble 

And  beauty  will  fade  and  riches  will  flee ; 

And  pleasures  they  dwindle  and  prices  they  double. 

And  nothing  is  what  I  would  wish  it  to  be. 

2  'There's  too  much  of  worrinient  goes  to  a  bonnet. 
There's  too  much  of  ironing  goes  to  a  shirt. 

There's  nothing  that  pays  for  the  time  you  waste  on  it, 
There's  nothing  that  lasts  us  but  trouble  and  dirt. 

3  'In  March  it  is  mud.  it  is  slush  in  December, 
The  midsummer  breezes  are  loaded  with  dust, 
In  fall  the  leaves  litter,  in  muggy  September 
The  wallpaper  rots  and  the  candlesticks  rust. 

4  'There's  worms  in  the  cherries  and  slugs  in  the  roses 
And  ants  in  the  sugar  and  mice  in  the  pies. 

The  rubbish  of  spiders  no  mortal  supposes. 
And  ravaging  roaches  and  damaging  flies. 

5  'It's  sweeping  at  six  and  it's  dusting  at  seven, 
It's  vittles  at  eight  and  it's  dishes  at  nine, 

X.C.F.,  Vol.   III.   (26) 


368  NORTH      CAROLINA     FOLKLORE 

It's  potting  and  panning  from  ten  to  eleven ; 

We  scarce  break  our  fast  ere  we  plan  how  to  dine. 

6  'W  ith  grease,  grime,  and  cobwebs  from  corner  to  center 
Forever  at  war  and  forever  alert. 

No  rest  for  a  day,  lest  the  enemy  enter, 

I  spend  my  whole  life  in  a  struggle  with  dirt. 

7  'Last  night  in  my  dreams  I  was  stationed  forever 
On  a  far  little  isle  in  the  midst  of  the  sea. 

My  one  cliance  for  escape  was  a  ceaseless  endeavor 
To  sweej)  off  the  waves  as  they  swept  over  me. 

8  'Alas,  'twas  no  dream !    For  again  I  behold  it ; 
I  yield,  I  am  helpless  my  fate  to  avert !' 

She  rolled  down  her  sleeves  and  her  apron  she  folded. 
Then  laid  down  and  died  and  was  buried  in  dirt. 

B 

'Oh,  Life  is  a  Toil !'  Secured  by  Julian  P.  Boyd  of  Alliance,  Pamlico 
county,  from  Graham  Wayne,  one  of  his  pupils  in  the  school  there. 
Only  the  first  two  stanzas  and  the  chorus.     The  second  stanza  runs  : 

There's  too  much  washing  that  goes  to  a  garment. 
There's  too  much  ironing  that  goes  to  a  shirt. 
There's  nothing  to  pay  for  the  time  you  waste  on  it. 
There's  nothing  that  lasts  but  trouble  and  dirt. 


313 
Kissing  Song 

A  sequence  or  number  sons^'.  Randolpli  (  OFS  iii  89-91  )  reports 
it  from  Missouri  and  mentions  a  recording^  of  it  in  tlie  Arcliive  of 
American  Folk  Song. 

'Kissing  Song.'  Contributed  by  Professor  J.  T.  C.  Wright  of  the 
Appalachian  Training  School  at  Boone  in  1922.  Each  stanza  is  made 
up  of  repetitions  in  the  manner  illustrated  here  in  the  first  stanza.  With 
the  tune. 

1  I  gave  her  kisses  one,  kisses  one, 
I  gave  her  kisses  one,  kisses  one. 
I  gave  her  kisses  one 

And  she  said  'twas  well  begun  ; 
So  we  kept  kissing  on.  kissing  on. 

2  I  gave  her  kisses  two. 

And  she  said  that  wduld  not  do. 

3  I  gave  her  kisses  three. 
And  she  .said  it  did  agree. 


FOLK      L  V  K  I  C  369 

4  I  ,na\e  her  kisses  lour, 

And  slie  said  she  wanted  more. 

5  1   i;a\  e  her  kisses  live. 

And  she  said  slu-  was  yet  ahve. 

6  I  gave  her  kisses  six. 

And  she  said  that  they  (hd  mix. 

7  1  ga\e  her  kisses  seven. 

And  she  said  she  was  in  heaven. 

8  1  gave  her  kisses  eight. 
And  she  said  it  was  not  late. 

9  I  gave  her  kisses  nine. 

And  she  said  she  woukl  he  mine. 

10     I  gave  her  kisses  ten. 

And  she  said.  'I*)egin  again." 

Another   sheet    in   the    collection,    i)robably    from    the    same    contriiiutor, 
has  the  first  stanza  only,  with  the  sexes  reversed : 

She  gave  me  kisses  one.  kisses  one, 
She  gave  me  kisses  one,  kisses  one, 
She  gave  me  kisses  one — the  gun — 
And  we  kept  kissing  on,  kissing  on. 

314 
My  Mammy  Don't  Love  Me 

Of  this  song,  incomplete  in  our  collection,  Perrow  (JAFL  xxviii 
187)  reports  a  four-line  fragment  from  Mississippi.  The  first  four 
lines  in  our  text  are  from  Thomas  Smith  of  Zionville,  Watauga 
county,  prohably  in  1915;  the  rest,  with  the  music,  is  from  Miss 
Pearle  Webb  of  Pineola,  Avery  county,  in  1921  or  thereabouts. 
Smith  notes  that  it  has  been  "used  by  banjo  pickers  here  for  12  or 
15  years." 

1  Mv  mammy  don't  love  me,  she  won't  hnv  me  no  shoes, 
W  on't  give  me  no  corn-licker,  won't  tell  me  no  news. 
1  love-a  nohody.  nohody  loves  me. 

Always  to  drink  licker,  always  to  he  free. 

2  Come  here,  honey,  t("ll  me  what  I've  done. 
Come  here,  honev,  tell  me  what  I've  done. 

I've  killed  nohody,  I've  done  no  hanging  crime, 
I've  killed  nohody.  I've  done  no  hanging  crime. 

3  If   you  mistreat  me  you'll   mistreat  another  man's   wife, 
If   von   mistreat   me  you'll   mistreat  another  man's   wife. 

(incomplete) 


370  NORTH     CAROLINA     F  0  L  K  L  0  R  K 

I  Wondered  and  I  Wondered 

This  quip  was  noted  by  John  A.  Lomax  and  pubHshed  by  him  in 
the  Sorth  Carolina  Booklet  vol.  xi,  No.  i,  pp.  27-9.  I  have  not 
found  it  elsewhere. 

1  wondered  and  I  wondered 

All  the  days  of  my  life, 

Where  yoti're  goin',  Mr.  Mooney, 

To  get  yourself  a  wife, 

Where  you're  goin",  where  you're  goin' 

To  get  yourself  a  wife. 

316 
My  Mammy  Told  Me 

Tliis  homely  warning  may  be  a  part  of  some  longer  song,  but  in 
our  collection  it  always  consists  of  four  lines,  with  but  slight  vari- 
ations. I  have  found  it  only  in  North  Carolina.  All  of  our  texts 
are  from  singing. 


'My    Mammy   Told   Me.'      From   Miss    Fronde    Kennedy,    Durham ;    not 
dated,  but  secured  some  time  in  the  period  1920-22. 

My  mammy  told  me  long  years  ago, 

'My  son,  don't  marry  no  girl  you  know. 

She'll   spend   all   your   money   and   she'll   wear   out   your 

clothes. 
And  what  will  become  of  you  the  Lord  only  knows.' 

B 

'My  Mammy  Told  Me.'     From  the  Misses   Holeman,   Durham,   in   1922. 

My  mammy  told  me  long  years  ago, 
'Son,  don't  you  marry  no  girl  you  know. 
Spen'  all  your  money,  sell  all  your  clothes ; 
So  don't  you  marry  no  girl  you  know.' 


'My    Mammy   Told   Me.'      Reported  l\v    Mrs.   Sutton   from   Lenoir,   Cald- 
well county,   in   1927.     She  does  not  name  licr   informant. 

Aly  mammy  told  me  long  time  ago, 
'Son,  don't  you  marry  no  gal  you  know. 
Spend  all  yo'  uKjney,  sell  all  yo'  clothes  ; 
Then  what'U  come  o'  you  God  almighty  knows.' 


FOLK      1.  V  K  I  C  371 

On,  Honey.  W'iikrk  You  Been  So  Long? 

Another  fragment  of  the  Hoating  lyric  of  the  folk.  Gordon  (FSA 
79-80)  gives  a  ten-stanza  text  of  it  as  a  hanjo  picker's  song;,  appar- 
ently from  the  Soutliern  mountains,  calling  it  a  well-known  song; 
but    I   have  not    found   it   reported   elsewhere   as    folk   song. 

'Song.'     Contributed  in  1923  Ijy  Lucille  Ciieck  of  Chatham  county. 

1  'Oh,  honey,  where  yoti  been  so  long  ? 
( )h,  honey,  where  yoti  been  so  long  ?' 

'1  been  round  the  bend  and  I  come  back  again.' 
'Oh,  honey,  where  yon  been  so  long?' 

2  'Oh,  honey,  where  you  been  so  long? 
Oh,  honey,  where  you  been  so  long?' 

'And  it's  when  I  return  with  a  ten  dollar  bill 
It's  "Oh,  honey,  where  yoti  been  so  hjng?"  ' 

318 

Away  Out  On  the  Mountain 

I  have  found  no  trace  of  this  song  elsewhere,  but  it  bears  its  own 
evidence  of  being  folk  song.  In  spirit  and  in  rhythm  it  is  like  "The 
Big  Rock  Candy  Mountain,'  but  it  bears  no  verbal  resemblance  to 
that  favorite  of  the  hoboes.  Is  it  a  relic  of  the  days  of  Davy 
Crockett?  Two  words  in  it,  "bile"  in  stanza  4  and  "spontain"  in 
stanza  5,  are  (luite  beyond  my  ken. 

'Away   Out    On   the   Mountain.'      From   the   John    Burch    Blaylock   Col- 
lection, made  in  Caswell  and  adjoining  counties  in  the  years   1927-32. 

1  I  ])acke(l  my  grip  for  a  farewell  trip ; 

1  kissed  Stisan  Jane  goodbye  at  the  fountain. 
'I'm  going.'  says  I.  'to  the  land  of  the  sky, 
-Vwav  otit  on  the  mountain. 

2  "Where  the  wild  seed  grows  and  the  buffalo  lows 
And  the  sqtiirrels  are  so  many  you  can't  count  'em  ; 
Then  I'll  make  love  to  some  turtle  dove, 

Away  out  on  the  mountain. 

3  'When  the  north  wind  blows  and  we  are  gonna  ha\e  snow 
And  the  rain  and  hail  comes  bouncin', 

I'll  wrap  myself  in  a  grizzly  bear's  coat. 
Away  out  on  the  mountain. 

4  'Where  the  snakes  are  bile  and  the  beavers  are  wild 
And  the  beavers  paddle  on  walking  canes ; 

Then  I'll  wrap  my  booze  in  a  buffalo  hide, 
Away  out  on  the  mountain. 


372  NORTH   CAROLINA   FOLKLORE 

5     'I'm  going  where  the  whippoorwill  sings  me  to  sleep  at 
night 
And  the  eagle  roosts  on  the  rocks  of  spontain ; 
I'll  feast  on  the  meat  and  the  honey  so  sweet 
Awav  out  on  the  mountain.' 


319 

The  Garden  Gate 

Tolnian  (JAFL  xxix  177)  gives  a  fragment  of  this  found  in 
Indiana  and  notes  that  it  is  printed  in  English  County  Songs,  p.  J2. 
Kittredge  adds  tliat  it  is  by  W.  Upton  and  occurs  in  numerous  song- 
books  and  stall  prints.  I  have  not  found  it  reported  by  any  Ameri- 
can collector  except  Tolman  (and  perliaps  Shearin,  whose  Syllabus, 
p.  29,  lists  a  similar  title  I.     Our  text,  like  Tolman's.  is  a  fragment. 

'Just   Down  to  the   Gate.'     From   the   singing   of   Miss    Pearle  Webb   of 
Pineola,  Avery  county,  in  1922. 

Just  down  to  the  gate,  dear  mamma, 

Just  down  to  the  garden  gate. 

The  moon  shines  hright  and  such  a  nice  night. 

I'll  just  go  down  to  the  gate. 


320 

Susy  Gal 

This  sounds  as  thougli   it  might  be  a  play-party   song,  but   it   is 
not  so  labeled.     I  liavc  not  found  it  elsewliere. 

'Susy   Gal.'      Contrilnited   by    Beulah    Walton   of    Durham    in    July    1923. 

Susy  licked  the  ladle 

An'  'er  dolly  rocked  the  cradle. 

(ioodhye,  Susie  gal, 

I'm  gone  again. 

I  fell  into  the  gtitter 

And  my  heart  began  to  flutter. 

Goodbye.  Susie  gal. 

I'm  jjone  asfain. 


321 
Joseph  us  and  PjOhunkus 

This  song,  familiar  to  collegians  a  generation  or  two  ago  and 
I)erbaps  to  their  successors  of  the  present  day,  is  represented  by 
three  texts  in  our  collection.  Its  origin  I  have  not  discovered. 
Spaeth  gives  it  in  Read  'lim  and  ll'ccp  91-4:  Davis  (FSV  145) 
reports  it    from   X'irginia;   Pcrrow    (JAFL   xxvi    125-6)    reports'it 


F  0  I.  K     I,  V  R  I  c  373 

as  suns  by  Negroes  in  Mississippi  with  a  stanza  from  'Uncle  Ned' 
pretixecl  to  three  stanzas  of  the  sons  proper.  Similarly  one  of  our 
texts  hesins  with  the  opening  stanza  of  Albert  Gorton  Green's 
humorous  poem  'Old  Grimes  is  Dead."  So  does  one  from  Missouri 
(OFS  111   177-8)  and  one   from   Indiana   (lll'd.P)   111  5). 

A 
'Old   (h-inics    Is    Dead.'     Ccnitrihutcd    in    lo-',^   liy    Zilpali    lM-isl)ic   of    Mc- 
Ddwcll  (.-miiity.     With  the  tune. 

1  (  )](1  Grimes  is  dead,  that  good  old  man; 
We  ne'er  shall  see  him  more. 

He  tised  to  wear  a  long-tailed  coat 
All  buttoned  down  liefore. 

2  And  that  old  man  he  had  two  sons. 
And  these  two  sons  were  brothers. 
Tobias  was  the  name  of  one, 
Josephtis  was  the  other's. 

3  And  these  two  boys  had  a  suit  of  clothes. 
'Twas  made  one  Easter  Sunday. 

Tobias  wore  it  all  the  week, 
Josephus  all  day  Sunday. 

4  And  these  two  boys  had  an  old  grey  mare, 
And  that  grey  mare  was  blind. 

Tobias  rode  her  on  in  front, 
Josephus  on  behind. 

5  And  that  old  mare  she  threw  them  olT 
And  mashed  them  into  jelly. 
Tobias  fell  upon  her  back, 
Josephus  on  her — back  too. 

B 
No  title.     Secured   by   Julian    P.   Boyd   at   Alliance.   Pamlico   county,   in 
1927  from  Duval  Scott,  one  of  the  pupils  in  the  school  there. 

1  There  were  two  boys  in  our  town, 
The  one  was  t'other's  brother ; 
Tobias  was  the  name  of  one, 

Ka junky  was  the  other. 

2  Now  these  two  boys  a-courting  went 
Whenever  they  thought  right ; 
Tobias  in  the  daytime  went. 
Kajunky  went  at  night. 

3  Now  these  two  boys  both  had  a  suit, 
All  made  on  Easter  Monday ; 


374  NORTH  CAROLINA  FOLKLORE 

Tobias  wore  it  all  the  week, 
Kajunky  wore  it  Sunday. 

4  Now  these  two  boys  both  had  a  horse ; 
.And  that  old  horse  was  blind. 

Tobias  in  the  seat  he  set, 
Kajunky  rode  behind. 

5  Now  these  two  boys  both  had  a  buggy. 
And  it  didn't  have  any  cushion ; 
Tobias  in  the  seat  he  set, 

Kajunky  went  a-pushin'. 

c 

The  tliird  text  is  witliout  indication  of  source  or  date  and  is  therefore 
not  presented — though  it  is  much  fuller,  running  to  nine  stanzas  and 
describing  the  experiences  of  the  two  brothers  (the  second  is  called 
Tychunker )    in  drinking,  courtship,  and  mountain  climbing,  ending : 

Now  these  two  boys  are  both  dead  and  buried 
(It  is  so  sad  to  tell)  ; 
Tobias  to  the  heavens  went, 
Tvchunker  went  down  to  hell. 


322 
Leather  Breeches 

The  "leather  breeches"  appear  in  the  words  sung  to  a  Kentucky 
fiddler's  dance  tune  (DD  134)  and  in  a  square-dance  song  in  the 
Middle  West  (Ford's  Traditional  Music  of  America  48). 

'Leather   Breeches.'     From    Miss    Pearle   Webb,    Pineola,   Avery   county, 
in  1922.    With  the  tune. 

1  I  went  down  town 

.\nd  I  wore  my  leather  breeches. 
1  couldn't  see  the  people 
For  looking  at  the  peaches. 

2  I  went  down  town 

And  I  got  a  pound  of  butter  ; 

1  come  home  drunk 

And  I  throwcd  it  in  the  gutter. 

323 
Old  Aunt  Katy 

The  refrain  suggests  that  this  is  a  play-party  song,  but  I  have 
not  found  it  recorded  elsewhere.  There  are  two  copies  in  our  col- 
lection, one   from   Miss  .\m\  Henderson  of  Worrv,    Rin-ke  county, 


FOLK     LYRIC  375 

the  other  from  Miss  Carrie  Stroupe  of  Lenoir.  Caldwell  county;  but 
the  texts  are  identical. 

1  ( )1(1  .\unl  Kat}'  was  a  good  old  sotil, 
Patched  my  breeches  right  full  of  holes. 

Refrain: 

Up  the  ridge  and  down  the  ridge 
And  rtni  old  Katy  home. 

2  Old  Aimt  Katy  was  a  good  old  soul, 
Crossed  the  bridge  and  paid  her  toll. 

3  ( )ld  Aunt  Katy  dressed  mighty  fine, 
Got  a  red  dress  just  like  mine. 

324 
Kindling  Wood 

A  stanza  about  kindling  wood  is  reported  as  part  of  a  play- 
party  song  in  Michigan  (JAFL  xxxiii  127),  but  it  bears  little 
resemblance  to  the  North  Carolina  song.  On  one  of  our  texts, 
Ware's.  Dr.  White  notes  that  it  was  popular  as  a  college  glee-club 
song  c'  1905-15.  It  has  not  been  found  in  other  collections  of  folk 
song. 

A 

'My    Name    Is    Dinah.'    Contributed    by    Louise    Lucas    of    White    Oak, 
Bladen  county,  in   1922. 

My  name  is  Dinah 

From  South  Carolina, 

And  I'm  selling  kindling  wood  to  get  along. 

Refrain : 

Kindling  wood,  kindling  wood, 

I'm  selling  kindling  wood  to  get  along. 

If  you  don't  believe  me  come  down  to  see  me. 

For  I'm  selling  kindling  wood  to  get  along. 

B 

'My    Name    Is    Dinah    from    South    Carolina.'      Reported    in    1922    from 
Albemarle.   Stanly  county,   by   R.   D.   Ware,   student  at   Trinity   College. 

My  name  is  Dinah, 

From  South  Carolina, 

And  I'm  selling  kindling  wood  to  get  along. 

And  won't  you  buy  some. 

Oh  won't  you  buy  some, 

For     . 


276  NORTH     CAROLINA     FOLKLORE 

C 
No  title.     Reported   by   Gertrude   Allen    (Mrs.   \'auglit )    from   Taylors- 
ville,  Alexander  county. 

Her  name  is  Ina 

And  she's  from  South  Ca'lina 

And  she's  splitting  kindling  wood  to  get  along, 

To  get  along,  to  get  along, 

And  she's  splitting  kindling  wood  to  get  along. 

325 

Mother,  May  I  Go  Out  to  Swim? 

This  jingle  is  probably  known  all  over  the  country  and  for  that 
very  reason  has  not  been  recorded  by  folklorists;  at  any  rate,  I 
have  found  it  reported  only  from  Ontario   (JAFL  xxxi  55.   115). 

'Mother,  May  I  Go  Out  to  Swim?'  Reported  by  Louise  Watkins  from 
Wayne  county.     ^Manuscript  not  dated. 

'Mother,  may  I  go  out  to  swim?' 
'Yes,  my  darling  daughter. 
Hang  your  clothes  on  a  hickory  limh, 
And  don't  go  near  the  water.' 

326 

River's  Up  and  Still  A-Rising 

A  medley  of  inconsequent  couplets  which  I  have  not  found  else- 
where. 

'River's  Up  and  Still  A-Rising.'  Contributed  by  Ella  Smith  of  Yadkin 
county.  There  is  also  in  the  Collection  a  recording  of  it  from  Mary 
Barbour  of  Raeford,  Holt  county,  but  the  editor  has  not  seen  her  text. 

1  River's  up  and  still  a-rising; 

Just  got  hack  from  a  negro  hai)tizing. 

Chorus: 

Farewell,  mourners,  farewell,  mdiu'iiers. 
(joodhyc,  i'se  gwine  to  leave  }'(»u  hc'hind. 

2  1  never  seen  the  like  since  I've  heen  horn  ; 
Big  cow  jumped  in  the  little  cow's  horn. 

3  Had  an  old  shirt,  had  no  collar, 

Looked  like  a  hlack  man  sitting  in  de  parlor. 

4  Had  an  old  shirt,  had  no  sU'cve, 

Looked  like  a  whi])] rwill  tr\ing  U)  sneeze. 

::;      1  lad  an  old  hal.  had  no  hriuL 

I  ,ook(.'(l  like  a  blue  jav  sitting'  on  a  limb. 


K  0  L  K     I.  ^•  K  I  c  377 

3-V 

Tjtti.k  I)R()WN  Hands 

Concci'Tiiiii;-  this  soiii;'  the  contrihutor  says  that  she  can  find  no 
trace  of  it  heyond  the  family  tracHtion  from  which  slie  secured  it. 
Neither  can  the  editor.  But  whatever  its  origin  it  lias  clearly  been 
traditional  soni;-  in  the  Maury  family.  Miss  Barnwell  writes:  "It 
was  sunt^  by  Lucinda  Maury  to  her  s^randchildren — whether  it  was 
a  well  known  song  of  the  day  or  a  hand-me-down  folk  son<^  of  that 
part  of  the  country  1  don't  know.  This,  however,  1  do  know:  that 
it  was  handed  down  from  j^eneration  to  generation  in  our  family, 
and  lias  been  ]ireserved  for  us  because  ai)])arently  each  .t;eneration 
l(i\ed  it." 

'Little   Brown  Hands.'     Contributed  in   1937  by   Miss   Mildred   (J.   Barn- 
well of  Gastonia,  Gaston  county,  from  family  tradition. 

1  They  dri\e  the  cows  home  from  the  pasttire 
Down  through  the  long  shady  lane 

Where  the  ((tiail  whistles  lottd  in  the  wheattield 

All  covered  with  ripening  grain. 

They  search  in  the  tall,  waving  grasses 

Where  the  scarlet-lipped  strawberry  grows ; 

They  find  the  earliest  snowdrops 

x\nd  first  crimson  bud  of  the  rose. 

2  They  know  where  apples  are  reddest 
And  sweeter  than  Italy's  wine. 

They  know  where  the  fruit  hangs  the  fullest 
On  the  long-thorny  blackberry  vine. 
They  toss  in  the  tall  rocking  treetops 
Where  oriole  hemlock  nests  swing. 
And  at  night-time  are  hushed  in  slumber 
By  the  song  that  a  fond  mother  sings : 

3  ■(  )h  they  wdio  are  brave  are  the  strongest, 
The  humble  and  poor  become  great. 

And  from  little  brown-handed  children 
Shall  gi-ow  mighty  rulers  of  state. 
The  pen  of  the  author  and  statesman. 
The  noble  and  wise  of  the  land. 
The  chisel,  the  sword,  and  the  pallet 
Are  held  in  the  little  brown  hand.' 


IX 
SATIRICAL    SONGS 


CLASSIC  folkloristic  studies  of  life  in  primitive  communities 
indicate  that  satirical  songs  constitute  an  important  aspect  of 
folk  singing.  Gummere  and  Kittredge  cite  instances  of  communal 
improvisations  by  Faeroes  fishermen  in  ridicule  of  some  hapless 
fellow  who  had  made  himself  obnoxious  or  unfavorably  con- 
spicuous. They  tell  us  also  about  mocking  verse  treatments  of 
incidents  and  characters  in  cigarette  factories  in  the  days  before 
girls  with  nimble  fingers  were  supplanted  by  tlie  marvelous 
machines  that  visitors  see  today  in  the  Chesterfield,  the  Lucky 
Strike,  and  the  Camel  factories  of  North  Carolina.  In  the  closely 
cultivated  areas  of  literary  history  the  casual  student  of  Robert 
Burns  and  his  milieu  cannot  fail  to  note  a  widespread  and  deeply 
rooted  tradition  of  satirical  song  among  the  Scottish  peasantry  of 
the  eighteenth  century,  as  evidenced  by  Burns's  references  to  such 
rhyming  "neeburs"  as  Davie  and  J.  Lapraik,  his  casual  mention 
of  the  old  custom  of  "sang  about,"  and  the  profusion  of  satirical 
songs  of  local  and  topical  nature  that  Burns  himself  turned  out, 
many  of  them  reworkings  of  pieces  floating  about  the  countryside. 
The  four  songs  of  the  North  Carolina  Regulators,  placed  among 
the  North  Carolina  native  ballads  because  they  are  primarily  nar- 
rative and  historical,  undoubtedly  stem  out  of  a  tradition  of 
eighteenth-century  English  popular  verse  wliich  was  contempora- 
neous with  Burns's  background  and  which  left  its  mark  on  New 
England  colonial  and  Revolutionary  literature  in  such  pieces  as 
'Revolutionary  Tea,'  'The  Battle  of  the  Kegs,'  and  "Yankee  Doodle.' 
Both  the  conservative  and  the  reproductive  functions  of  any  social 
tradition  re(|uire  settled  ways  of  life,  especially  those  employing 
verbal  media.  Constant  moving  about  was  a  disturbing  feature  of 
frontier  life.  This  not  only  banged  up  the  furniture  but  also  shat- 
tered skills,  as  anyone  brought  up  in  the  South  or  the  West  real- 
izes while  looking  at  tlie  furnishings  of  period  rooms  in  museums 
like  that  of  the  Concord  Antiquarian  Society,  unconsciously  com- 
paring them  with  the  "anti(|ues"  of  a  newer  region.  And  thus  it 
was  with  folk  songs  of  all  kinds,  but  especially  with  those  that 
sprang  out  of  an  intimate  and  self-conscious  communal  lite.  New 
songs  were  slow  to  arise  because  people  need  to  live  together  and 
observe  one  another  a  relatively  long  time  before  comlitions  are 
ripe  for  social  satire. 


SATIRICAL     S  0  N  C.  S  379 

Other  causes  doubtless  helped  to  break  the  tradition  of  satirical 
song.  One  may  have  been  the  slow  disintegration  of  the  general 
body  of  folklore  in  its  broad  sense  of  inherited  knowledge,  whether 
from  books  or  from  oral  sources,  and  of  folk  ways,  that  must 
function  in  the  creation  of  the  most  elementary  satire.  Still  another 
was  the  decided  masculine  preference  for  the  anecdote  or  tall  tale, 
wliicii  took  a  spontaneous  prose  form  that  made  verse  seem  precious. 
While  women  un(|ucstionabIy  played  the  more  important  role  in  re- 
membering the  old  songs  and  ballads,  the  men  as  un(|uestionably 
made  up  most  of  the  anecdotes  and  tall  tales,  and  it  seems  probable 
that  men  have  been  the  most  successful  folk-tale  tellers.  Of  the 
many  other  possible  causes  of  decline  in  satirical  song,  perhaps  the 
most  important  was  the  substitution  of  professional  for  homemade 
entertainment.  The  minstrel  and  vaudeville  songs,  often  based  on 
genuine  folk  originals,  tended  by  their  greater  cleverness  and 
catchiness  to  crowd  out  the  traditional  pieces  and  abate  the  custom 
of  making  up  new  pieces.  Nowadays  the  process  is  being  repeated 
through  the  new  media  of  the  phonograph  and  the  radio.  Though 
the  situation  is  fluid  and  rapidly  changing,  it  is  nevertheless  not 
hopeless  for  true  folk  poetry.  Songs  introduced  by  the  newfangled 
publicity  media  sometimes  go  wild  and  flourish  in  the  no  man's 
land  of  popular  tradition.  Up-to-date  means  of  rapid  communi- 
cation simply  accelerate  the  process  by  which  a  song  of  individual 
authorship  in  the  old  days  gradually  became  the  possession  of  a 
group,  next  a  neighborhood,  and  finally  a  region  or  even  a  nation, 
somewhere  along  the  line  becoming  a  genuine  folk  song. 

The  Collection  has  a  group  of  satirical  songs,  but  it  is  a  rela- 
tively small  group,  and  the  social  features  that  the  songs  depict 
have  lost  some  of  their  early  sharpness  and  color.  The  scarcity  of 
these  songs  is  perhaps  more  apparent  than  real.  Exigencies  of 
folk-song  classification  and  arrangement  have  required  the  editors 
to  place  in  other  sections  of  this  book  songs  that  are  similar  in 
spirit  but  different  in  genre.  Besides  the  ballad-like  songs  of  the 
Regulators,  there  are  several  satirical  pieces  among  the  native 
North  Carolina  ballads,  a  few  among  the  war  songs,  and  scattered 
examples  among  the  courting,  drinking,  and  homiletic  songs,  the 
bird,  beast,  and  fish  jingles,  and  the  secular  Negro  songs.  The 
following  pieces  have  seemed  to  the  editors  to  be  more  purely 
satirical  than  anything  else. 

Apropos  of  the  first  group,  regional  and  local  satires,  some  read- 
ers will  recall  William  Byrd's  caricatures  of  North  Carolinians  and 
North  Carolina  manners  in  The  Secret  History  of  the  Dk'iding 
Line.  Others  will  remember  the  gusty  humors  of  Skitt's  (H.  E. 
Taliaferro's)  Fisher's  River  (North  Carolina)  Scenes  and  Char- 
acters. A  few  will  be  reminded  of  the  naivete  of  Shepherd  M. 
Bugger's    The    Balsam    Groves   of   Grandfather   Mountain.      Such 


380  NORTH     CAROLINA     FOLKLORE 

readers  will  unanimously  regret  that  the  song  examples  of  the  species 
are  so  few,  so  hrief,  and  on  the  whole  so  vague.  After  remarking 
that  the  "Carolina  crew"  milked  the  cow  in  the  gourd  and  "set 
it  in  the  corner  and  kivered  it  with  a  board"  (as,  doubtless,  did  the 
Virginia  crew),  the  Carolina  Thalia  takes  a  fling  to  hear  banjo 
music  in  Cumberland  Gap  and  flies  away  to  dance  to  the  fiddle  of 
'The  Arkansas  Traveler'  and  listen  to  the  life  and  hard  times  of 
San  ford  Barnes. 

Without  specific  local  auspices.  Thalia  settles  down  to  more  sus- 
tained efforts  in  poking  fun  at  the  various  trades  and  callings,  in 
such  pieces  as  'Hard  Times,'  'The  Dodgers,'  and  'Calomel.'  In 
'Twenty  (Forty,  Sixty)  Years  Ago'  she  describes  social  changes 
in  a  manner  that  seems  to  have  given  the  song  an  especial  attraction 
for  North  Carolinians.  "If  You  Want  to  Go  A-Courtin"  takes  the 
conditional  situation  of  its  title  as  a  starting  point  for  extensive 
satirical  observations,  including  the  handling  of  milk  and  proper 
manners  at  Old  Noah's  house.  "Johnson  Boys'  and  'When  Young 
JNIen  Go  Courting'  stick  more  closely  to  the  situation.  The  bucolic 
muse  may  deny  responsibility  for  'The  Wood  Haulers,'  but  it  seems 
to  the  editors  to  belong  more  to  her  than  to  any  of  her  sisters. 
In  ascribing  to  her  such  pieces  as  'Preacher  in  the  Pulpit,'  'Wait 
on  de  Lord,'  'Walk  in  the  Parlor.'  and  'Jonah  and  the  Whale,'  the 
editors  are  much  surer  of  their  ground.  They  are  regretful,  too, 
that  the  vast  and  fertile  field  which  such  songs  barely  scratch  was 
not  brought  under  the  sharp  plough  of  a  native  tradition  such  as 
lies  behind  'Holy  Fair'  and  'Holy  Willie's  Prayer,'  and  that  it  is  to 
the  prose  writers  like  the  Reverend  Lorenzo  Dow  rather  than  to 
the  songs  of  rustic  bards  that  we  must  go  for  pictures  of  frontier 
religious  manners  and  the  New  W'orld  analogues  of  the  battles  be- 
tween the  Auld  Licht  and  the  New  Licht. 


328 
The  Carolina  Crew 

This  is  a  fragment  of  the  song  of  regional  satire  best  repre- 
sented in  our  collection  by  'If  \'ou  Want  to  Go  A-Courtin'.' 
p.  393.  Reported  heretofore  from  X'irginia  (  SharpK  11  g  )  and 
North  Carolina  (SharpK  11  6-8 J.  A  variant  stanza,  with  allusion 
to  "the  Tuckahoe  crew."  is  quoted  in  Margaret  Prcscott  Monta- 
gue's Up  Eel  River  (New  York,  1928),  p.  6.  The  author  stated 
in  a  letter  to  A.  P.  Hudson  that  the  stanza  "is  an  adaptation  of 
an  old  song  I  used  to  hear  in  the  mountains  of  West  Virginia.  .  .  . 
The  last  line  I  imagine  is  applied  to  any  locality  that  the  singer 
holds  in  especial  contempt.  "'I'uckaliot.''  ]iai)])ens  to  be  a  hollow  in 
my  neighborhood  at  White  .Sulpjiur  .Springs  which  is  especially 
looked  down  upon  by  its  neighbors."  (See  A.  P.  Hudson.  "The 
Singing  South,"  Scit.'anec  Rc^'iira',  July  1936.  p.  20. ) 


S  A  T  1  K  1  C  A  L     S  O  N  c;  S  38I 

'Tlic  Carolina   Crew."     Ropditctl  by   tlic    Misses    Ilolciiian  of  Durham   in 

1  had  a  little  cow  and  1  milked  her  in  the  gourd, 
I  set  it  in  the  corner  and  kivered  it  with  a  hoard. 
That  is  the  way  we  used  ter  do 
\\  hen  1  lived  'lone  with  the  Carolina  C  rew. 


329 

Cumberland  Gap 

This  is  known  in  Kentucky  (BKH  176-8,  JAFL  xi.ix  241-2), 
and  Miss  Scarborough  (SCSM  65)  describes  it  as  a  tiddler's  piece 
in  North  Carolina.  It  is  included  in  Kand()l])h  OFS  in  264  and 
listed  by  Davis  FSV  247. 

'Cumberland  Gap.'  From  tlie  manuscripts  of  G.  S.  Robinson  of  Aslie- 
ville,  in  August  1939. 

1  Lay  down,  hoys,  and  take  a  little  nap ; 
Forty-four  miles  to  the  Cumberland  CJap. 

2  Lay  down,  hoys,  and  take  a  little  nap ; 
Snow  knee-deep  in  Cumberland   [(JapJ. 

3  Cuml)erland  Gap's  no  gap  at  all. 
Lve  been  shot  with  a  cannon  ball. 

4  Cumberland  Gap's  a  devil  of  a  place, 
Couldn't  tind  water  to  wash  my  face. 

5  Pretty  little  girl,  if  you  don't  care 

ril  leave  my  demijohn  a-setting  right  here. 

6  If  it  ain't  here  when  I  get  back 

I'm  going  to  raise  trouble  in  Cumberland  (Jap. 

7  Me  and  my  wife  and  my  wife's  pap 
Walked  all  the  way  from  Cumberland  Gap. 

330 
Arkansas  Traveler  (I) 

Not  to  be  confused  with  the  'Bill  Stafford'  or  'San ford  Barnes' 
song,  which  sometimes  goes  by  the  same  name.  Both  are  satires 
upon  the  state;  but  this  appears  to  have  originated  (|uite  definitely 
in  i)rint.  See  Cox's  headnote,  FSS  503.  Only  a  fragment  of  it 
has  C(jme  into  the  North  Carolina  Collection. 

'Arkansas  Traveller.'  Reported  by  Thomas  Smitii  of  Zionville,  Watauga 
county,  as  a  dance  song,  fiddle  and  l)anjo,  with  the  remark  that  while 
not  as  old  as  some  others  it  "has  l)eeii  popular  for  several  years.     Joe 


382  NORTH  CAROLINA  FOLKLORE 

Thompson,    one   of   our    great    fiddlers,   has    played   this    tune   for   many 
years." 

'Hello,  stranger!'     "Hello  yourself. 

If  you  want  to  go  to  h jist  go  by  yourself." 


331 

Arkansas  Traveler  (H) 

This  has  no  connection  with  the  humorous  dialogue  known  as 
"The  Arkansas  Traveler';  instead,  it  is  a  piece  of  local  satire  akin 
to  "If  You  Want  to  Go  A-Courtin"  and  'Johnson  Boys.'  It  is  also 
known  as  "Sanford  Barnes'  and  as  "Bill  Stafford.'  For  its  occur- 
rence elsewhere  see  BSM  424,  and  add  to  the  references  there  given 
Indiana  (BSI  267)  and  Virginia  (FSV  142,  listed).  Our  two 
texts,  though  evidently  forms  of  one  piece,  sliow  the  variations  to 
be  expected  in  a  song  that  passes  by  oral  tradition. 

A 

'Arkansaw    Traveler.'      Reported    by    I.    G.    Greer   of    Boone,    Watauga 
county,  some  time  in  1915-16. 

1  My  name  is  Santford  Barnes. 

I  came  from  Little  Rock  town. 
I've  traveled  this  wide  world  over, 
I've  traveled  this  wide  world  round ; 
I've  had  many  ups  and  downs, 
Through  life  better  days  I've  saw, 
P>ut  I  never  knew  what  misery  was 
Till  I  came  to  Arkansaw. 

2  'Twas  in  the  year  of  eighty-two. 
The  merry  month  of  June, 

I  landed  at  Hot  Springs 
One  sultry  afternoon. 
There  came  a  walking  skeleton 
And  gave  to  me  his  paw. 
Invited  me  to  his  hotel ; 
'Twas  the  best  in  Arkansaw. 

3  I  followed  my  conductor 
Into  his  dwelling  place. 

It  was  starvation  and  poverty 

Pictured  on  his  face. 

His  bread  it  was  corn  dodgers. 

His  beef  I  could  not  chaw. 

He  charged  me  hfty  cents  a  meal 

In  the  state  of  Arkansaw. 


S  A  T  1  R  I  f  A  I.     SON  G  S  3^3 

4  I  Started  back  next  morning 
To  catch  the  early  train. 

He  said.  'Young  man,  you'd  better  work  for  me. 

I  have  some  land  to  drain  ; 

I'll  give  you  fifty  cents  a  day, 

Your  washing  and  old  chaw  ; 

You'll  feel  (|uite  like  a  different  man 

When  YOU  leave  old  Arkansaw.' 

5  I   worked  for  tlie  gentleman  three  weeks, 
less  Hare  was  his  name; 

Six  feet  seven  inches  in  stocking  length 

And  slim  as  any  crane  ; 

His  hair  hung  down  like  ringlets 

Beside  his  slackened  jaw  ; 

He  was  the  photograph  of  all  the  gents 

That  was  raised  in  Arkansaw. 

6  His  bread  it  was  corn  dodgers 
As  hard  as  any  rock ; 

It  made  my  teeth  begin  to  loosen, 

My  knees  begin  to  knock. 

Got  so  thin  on  sage  and  sassafras  tea 

1  could  hide  Ixdiind  a  straw — 

I'm  sure  I  was  quite  like  a  different  man 

When  I  left  old  Arkansaw. 

7  I  started  back  to  Texas 
A  quarter  after  five. 

Nothing  was  left  but  skin  and  bone, 

Half  dead  and  half  alive. 

I  got  me  a  bottle  of  whiskey 

^ly  misery  for  to  thaw. 

Got  drunk  as  old  Abraham  Lincoln 

When  I  left  old  Arkansaw. 

8  Farewell,  farewell.  Jess  Hare, 
And  likewise  darling  wife. 

I  know  she  never  will  forget  me 

In  the  last  days  of  her  life. 

She  put  her  little  hand  in  mine 

And  tried  to  bite  my  jaw 

.And  said.  'Mr.  Barnes,  remember  me 

When  you  leave  old  Arkansaw.' 

9  l-'arewell.  farewell,  swamp  angels 
Who  can't  break  in  the  chills ; 
Farewell  to  sage  and  sassafras  tea 

X.C.F..  Vol.  III.   (27) 


384  NORTH  CAROLINA  FOLKLORE 

And  corn  dodger  jnlls. 

If  ever  I  see  that  land  again 

I'll  give  to  you  my  paw, 

It  will  be  through  a  telescope 

From  here  to  Arkansaw. 

B 

'A  Traveler  in  Arkansas.'     From  the  manuscript  of  G.  S.  Robinson  of 
Asheville.     Copy  taken  in  August  1939. 

1  My  name  is  Elmer  Page,  boys,  I  came  from  Mil  ford  Cen- 

ter, Ohio  town. 
For  a  long,  long  time  I've  roved  this  wide  world  around. 
Of  all  the  ups  and  downs  of  life,  great  many  of  them  I've 

saw, 
But    I    never    knew    what    misery    was    until    I    went    to 

Arkansaw. 

2  It  was  in  the  year  of  1889,  in  the  merry  month  of  June, 
I  landed  in  Helena  one  sultry  afternoon. 

Up  came  a  walking  skeleton  with  a  lean  and  lantern  jaw, 
Invited  me  to  his  hotel,  the  best  in  Arkansaw. 

3  I  followed  my  conductor  unto  his  very  place. 
While  misery  was  depicted  upon  his  peaked  face. 
Flis  bread  was  corn  dodger,  his  meat  I  couldn't  chaw. 
And  fifteen  cents  he  charged  me  in  the  state  of  Arkansaw. 

4  He  was  to  wake  me  in  the  morning  to  take  an  early  train. 
Says  he.  'Young  man,  you  better  stay ;  I  have  some  land 

to  drain. 
I'll  give  you  twenty   cents  a   rod.  your   washing,   board, 

and  all. 
And  you  will  be  a  different  man  when  you  leave  Arkansaw.' 

5  Three  long  months  I  worked  for  this  big  swaiup  angel, 

with  the  ague  and  the  chills. 
They  dosed  me  with  sage  and  sassafras  and  corn  dodger 

pills. 
As  I  lay  upon  my  bed.  was  built  of  hay  and  straw  ; 
In  faith  I  was  a  different  man  when  I  left  old  .Arkansaw. 

6  The  day    I   left   that   cussed  place — I    dread  the  memorv 

still— 
I   nearly   shook   mv   boots   oft    with    a   blasted    ague   and 

chill.' 
T  straightaway  went  into  a  saloon  my  misery  to  thaw. 
And  1  got  drunk  as  blazes  when  I  left  Arkansaw. 


S  A  T  I  R  I  C  A  I.     S  ()  \  r.  S  385 

Farewell  to  those  swanip  angels,  the  ague  and  the  chills, 
Likewise  to  sage  and  sassafras  and  corn  dodger  pills. 
If  ever  I  see  that  land  again,  1  give  to  you  luy  paw, 
It  will  be  through  a  telescope  from  here  to  Arkansaw. 


332 
Hard  Times 

Moralizinj;-  or  satiric  ballads  upiin  the  vices  and  foibles  of  the 
time  were  not  infrequent  in  the  heyday  of  printed  balladry,  the 
seventeenth  and  eighteenth  centuries,  and  are  not  extinct  yet.  .See 
B.SM  433,  and  compare  the  pieces  of  regional  satire,  'If  N'ou  Want 
to  Go  A-Courtin','  'Johnson  Boys,'  'Arkansas  Traveler.' 

A 

'Hard  Times.'     From  the  manuscript  songbook  of   Miss  Liira  Was.;nncr 
of  Vox,  Alleghany  county,  lent  to  Ur.  Brown  in  1936. 

1  Come  listen  a  while,  1  will  sing  yuu  a  song 
Concerning  hard  times,  and  it  shall  not  be  long. 
Since  everybody  is  trying  to  buy 

And  cheat  each  other  and  think  it's  right ; 
And  it's  hard  times. 

2  From  brother  to  brother,  from  sister  to  cousin. 
They  all  have  learned  to  cheat  each  other; 
Since  cheating  has  come  so  much  in  fashion 

I  fear  it  will  spread  quite  over  this  nation ; 
And  it's  hard  times. 

3  The  blacksmith  labors  by  the  sweat  of  his  brow, 
And  so  does  the  farmer  by  following  his  plow ; 
They're  both  a  man  on  their  own  conceit 

And  will  cheat  each  other  in  measure  and  weight ; 
And  it's  hard  times. 

4  Here  is  the  shoemaker ;  he's  worse  than  them  all. 
He  bristles  his  end  to  follow  his  awl. 

He'll  sew  a  stitch  an  inch  at  a  clip 

And  swear  to  the  buyer  the  shoe  will  never  r\\). 

And  it's  hard  times. 

5  Here  is  the  old  doctor  ;  and,  so  they  tell  me. 
He  says  he  will  cure  y(ju  for  a  very  small  fee. 
He  says  he  will  cure  you  for  half  you  i)ossess, 
And  when  he  don't  kill  you  he  takes  the  rest. 
And  it's  hard  times. 

6  Here  is  the  old  preacher ;  he  rides  in  his  stage. 
He'll  take  out  his  Bible  and  read  you  a  page, 


386  NORTH     CAROLINA     FOLKLORE 

He'll  preach  a  sermon  for  you  to  go  by, 

And  if  you  set  him  to  trading  he'll  tell  you  a  lie. 

And  it's  hard  times. 

7  Young  ladies  will  rise  at  the  dawn  of  the  day, 
They'll  rufifle  and  shuffle,  they'll  try  to  look  gay, 
They'll  comb  up  their  hair  so  nice  and  so  neat 
To  make  the  young  men  think  they  look  sweet ; 
And  it's  hard  times. 

8  Young  men  will  rise,  to  the  church  they  will  go, 
They'll  ruffle,  they'll  shuffle,  they'll  make  a  fine  show  ; 
They'll  stop  at  the  tavern  and  there  drink  wine ; 
And  all  such  boys  the  gallows  will  find. 

And  it's  hard  times. 

9  Here  is  the  old  nuTchant.  I  must  have  him  in. 
He's  bound  to  extortion  and  thinks  it's  no  sin. 

He'll  tip  up  his  stillyards  and  make  them  weigh  down, 
And  swear  it's  good  weight  if  it  likes^  ten  pound. 
And  it's  hard  times. 

10  Here  is  the  old  miller  I'd  like  to  have  forgot. 
He's  always  sitting  a-pecking  his  rock. 

He's  always  pleading  his  toll  dish  small ; 
Sometimes  he  takes  half  and  sometimes  he  takes  all. 
And  it's  hard  times. 

1 1  Here  is  the  young  men  ;  they're  worse  than  all. 
They  tell  you  they  love  you  to  try  their  own  soul. 
They  tell  you  they  love  you  when  they're  sitting  by 
And  when  they  get  away  they'll  swear  it's  a  lie. 
And  it's  hard  times. 

12  And  now  I  will  make  you  an  end  of  my  song. 
It  was  very  well  worded  and  not  very  long. 
And  if  everybody  don't  come  at  this  call. 

If  the  Lord  don't  take  them  the  devil  gets  all. 
And  it's  hard  times. 

B 

'Hard  Times.'  From  Miss  Jewell  Rohhins  (later  Mrs.  C.  P.  Perdue), 
Pekiii,  Montgomery  county,  some  time  between  1921  and  1924.  With 
the  tune.  Basically  the  same  text  as  A  hut  reduced  by  omissions  from 
twelve  stanzas  to  five  and  witli  numerous  minor  alterations. 

I      Come  all  ye  young  ])c()])le,  1  sing  you  a  song 
Which  is  not  very  long, 

^  This    (for   "lacks")    is  allowed  to  stand  as   lieing  prol)ahly   what  the 
singer  really  says. 


SATIRICAL     S  0  N  r.  S  387 

How  everybody  is  trying-  to  trade 
And  cheating-  each  otlier.   1  cannot  tell  why, 
h>oni  father  to  mother  and  sister  and  hrcjther 
And  cousin  and  kin  folks  are  cheating  each  other. 
And  it's  hard.  hard.  hard,  liard  times. 

2  There  is  the  old  blacksmith  I'd  like  to've  forgot; 
I  believe  in  my  soul  he's  the  worst  of  the  lot. 
He'll  shoe  your  horses  and  sharpen  }'our  plows 

And  at  the  end  of  the  year  he'll  dri\e  off  vour  cows. 
And  it's  hard.  Iiard  times. 

3  There  is  the  old  shoemaker  I'd  like  to've  forgot; 
I  believe  in  my  soul  he's  the  worst  of  the  lot. 
He'll  go  stitching  along  an  inch  at  a  clip 

And  he'll  swear  by  Joe  it  never  will  ri]). 
And  it's  hard,  hard  times. 

4  There  is  the  old  preacher  I'd  like  to've  forgot; 
I  believe  in  my  soul  he's  the  worst  of  the  lot. 
He'll  go  to  church  twelve  times  in  the  year. 

And  if  you  die  and  go  to  the  devil  he  really  don't  care. 
And  it's  hard,  hard  times. 

5  There  is  the  young  lady  I'd  like  to've  forgot; 
I  believe  in  my  soul  she's  the  worst  of  the  lot. 
She'll  slick  up  her  hair  and  to  church  she  will  go, 
And  what  is  it  for  but  to  catch  her  a  beau  ? 
And  it's  hard,  hard  times. 

c 

'Hard  Times.'  Reported  by  Vernon  Sechrist  of  Thomasville,  Davidson 
county,  in  1928,  "as  remembered  by  Mrs.  Augusta  Fonts  at  the  age  of 
"J"]  years."     The  first  stanza  only. 

D 

'Hard  Times."  From  Miss  Pearle  Webb  of  Pineola,  Avery  county.  The 
tune,  and  a  fragmentary  stanza  not  found  in  A  or  B  : 

I  really  do  believe  it's  for  the  sake  of  old 

They  starve  the  women  and  the  children  out  of  bed. 

And  it's  hard  times,  hard  times. 


333 

The  Dodgers 

A  satire  upon  callins^s.  like  'Hard  Times,'  but  not  so  well  known; 
in  fact,  I  have  found  it  reported  elsewhere  only  from  Arkansas 
(OSC  289),  thougli  very  likely  it  circulated  as  a  stall  ballad  at 
some  time.     B.  A.  Botkin  prints  a  version  of  it  in  A   Treasury  of 


388  NORTH      CAROLINA     FOLKLORE 

American  Folklore  (New  York,  1944),  pp.  875-6.  See  Randolph 
OFS  III  218.  Rhythmically  it  seems  to  liave  been  suggested  by  the 
old  Scotch  song  'We're  A'  Noddin'.' 

'The  Dodgers.'  From  the  manuscript  notebook  of  Mrs.  Harold  Glass- 
cock of  Raleigh,  lent  to  Dr.  White  in  1943.  The  songs  in  this  book 
-Mrs.  Glasscock  learned  from  her  parents. 

1  Oh.  the  doctor  he's  a  dodger. 
Yes.  he's  a  curing  dodger. 
Oh.  the  doctor  he's  a  dodger. 
Yes,  he's  a  dodger  too. 

He'll  tell  you  he  can  cure  you 
And  dose  you  on  rum  and  honey  ; 
If  you  die  the  next  day 
He's  a-dodging  for  your  money. 

Chorus: 
And  we're  all  a-dodging. 
A-dodge  dodge  dodge  dodging^ 
And  we're  all  a-dodging 
Our  way  through  the  world. 

2  Oil,  the  lawyer  he's  a  dodger. 
Yes,  he's  a  talking  dodger. 
Oh,  the  lawyer  he's  a  dodger. 
Yes,  he's  a  dodger  too ; 

He'll  tell  you  to  sue  your  neighhor 
And  look  on  him  with  scorn  ; 
But  look  out.  farmer. 
He's  a-dodging  for  your  corn. 

3  Oh.  the  merchant  he's  a  dodger, 
Yes,  he's  a  selling  dodger. 

Oh.  the  merchant  he's  a  dodger. 

Yes.  he's  a  dodger  too. 

He'll  bow  and  scrape  and  flatter 

And  show  you  all  his  colors. 

But  look  out.  ladies. 

He's  dodging  for  your  dollars. 

4  Oh.  the  preacher  he's  a  dodger. 
Yes.  he's  a  jireaching  dodger. 
Oh,  the  preacher  he's  a  dodger. 
Yes.  he's  a  dodger  too. 

He'll  ]jreach  to  you  the  scriptures 
And  tell  you  of  your  crimes  ; 
But  look  out.  sinners. 
He's  a-dodging  for  your  dimes. 

^  So  the  line   in  the   manuscript ;   l)ut   tlie   rhythm   suggests   tliat   there 
should  be  one  less  repetition  of  tlio  "dodge"  syllaldc. 


SATIRICAL     SONGS  389 

5  Oh,  the  ladies  they  are  dodgers, 
Yes.  they  are  co(|uetting  dodgers, 
(  )h,  the  ladies  they  are  dodgers, 
Yes.  they  are  dodgers  too. 

They  tell  you  they  can  sew 

And  cook  and  nurse ; 

But  look  out,  gentlemen, 

Thev  are  dodging  for  your  purse. 

6  Oh,  the  lover  he's  a  dodger. 
Yes,  he's  a  courting  dodger. 
Oh,  the  lover  he's  a  dodger. 
Yes,  he's  a  dodger  too. 
He'll  kiss  you  and  caress  you 
And  wish  you  were  his  bride ; 

And  when  a  prettier  one  comes  along 
Then  he'll  let  you  slide. 

334 

CaLOiMEL 

For  other  occurrences  of  this  gibe  at  the  old-fasliioned  doctor's 
reliance  on  calomel,  one  of  them  reaching  back  to  the  beginning 
of  the  nineteenth  century,  see  BSM  441  and  add  Indiana  (BSl 
308-10).  Jordan  and  Kessler's  Songs  of  Yesterday  has  it  as  sung 
by  the  Hutchinsons. 

'Calomel.'  From  the  manuscript  notebook  of  Mrs.  Harold  Glasscock  of 
Raleigh,  lent  to  Dr.  White  in  1943.  These  songs  she  k-arned  from  her 
parents. 

1  Let  Tom  or  Dick  or  Harry  get  sick. 
Send  for  the  doctor  and  be  quick. 

The  doctor  comes  with  a  free  good  will 
And  brings  with  him  his  calomel. 

2  He  takes  the  patient  by  the  hand 
And  compliments  him  as  his  friend  ; 
He  sits  a  while  his  pulse  to  feel, 
And  then  takes  out  his  calomel. 

3  He  turns  unto  the  patient's  wife: 
'Have  you  clean  paper  and  a  knife? 
I  think  your  husl)and  woidd  do  well 
To  take  a  dose  of  calomel." 

4  He  then  deals  out  those  fatal  grains 
In  hopes  that  these  will  ease  his  pains ; 

"And  every  three  hours  at  the  sound  of  the  bell 
Give  him  a  dose  of  calomel.' 


390  NORTH     CAROLINA     FOLKLORE 

5  He  leaves  has  patient  in  her  care 

And  takes  his  leave  with  a  graceful  air. 
In  hopes  bad  humor  to  expel 
She  freely  gives  the  calomel. 

6  The  man  grows  worse,  grows  worse  indeed. 
'Send  for  counsel,  ride  with  speed.' 

The  counsel  comes  with  a  free  good  will 
And  doubles  the  dose  of  calomel. 

7  The  man  in  death  begins  to  groan. 
The  fatal  work  for  him  is  done. 

His  soul  is  rushed  to  heaven  or  hell, 
The  sacrifice  to  calomel. 

8  The  neighbors  all  come  in  to  see. 
The  fatal  effects  of  mercury. 

(Be  not  offended,  though,  and  tell 
It  is  the  effects  of  calomel.) 

or 
(\\'hat  is  it  eft'ects  the  smell? 
It  is  the  stench  of  calomel.) 

9  Come,  all  ye  doctors :  my  first  choice, 
Listen  to  counsel,  take  advice ; 

Be  not  offended  though  I  tell 
I'm  not  so  fond  of  your  calomel.^ 


335 
Twenty  (Forty,  Sixty)  Years  Ago 

Perhaps  newspaper  verse,  perhaps  a  music-hall  piece,  this  seems 
to  have  had  an  especial  appeal  for  North  Carolinians.  Henry  re- 
ports two  stanzas  of  it  (FSSH  23-4)  as  sung  by  Mrs.  Ewart  Wil- 
son (who  also  contributed  songs  to  the  Brown  Collection)  in  the 
Cane  River  country,  and  there  are  four  texts  of  it,  coming  from 
three  western  counties,  in  our  collection.  Nowhere  else  do  I  find 
it  recorded  as  traditional  song.  It  has  no  connection  witli  William 
Willing's  song  of  the  same  title  (Heart  Songs  280-1,  Ford's  Tradi- 
tional Music  of  America  318-19).  The  versions  using  "forty"  or 
"sixty"  instead  of  "twenty"  have  lost  the  homely  touch  about  the 
new-fangled  stove. 

^  Here  the  manuscript  notes  :  "Mama  didn't  know  this  verse.  Papa's 
verse  as  he  used  to  sing  it : 

Since  calomel  lias  been  your  boast, 

How  many  patients  have  you  lost? 

How  many  thousands  have  you  killed 

Or  poisoned  with  your  calomel?" 


SATIRICAL     SONGS  39I 


'Twenty  Years  Ago.'  Contributed  in  1921  liy  Miss  Jewell  Robhins 
(afterwards   Mrs.  C.  P.   Perdue)    of   Pekin,  Montgomery  county. 

1  How  woiulrotis  are  the  changes  since  twenty  years  ago, 
When  girls  wore  homespun  (h"esses  and  hoys  wore  pants 

of  tow. 

When  shoes  were  made  of  cowhides  and  socks  of  home- 
spun wool. 

And  children  did  a  lialf  day's  work  hefore  they  went  to 
school. 

Chorus: 

Just  twenty  years  ago  go  go,  just  twenty  years  ago, 
The  men  and  the  hoys,  the  girls  and  the  toys. 
The  work  and  the  l)lay,  both  night  and  day. 
And  the  world  and  its  way  are  all  turned  round 
Since  twenty  years  ago. 

2  Ah.  well  do  I  remember  the  Wilson  patent  stove 

That  father  bought  and  paid  for  with  cloth  the  girls  had 

wove. 
And  how  the  neighbors  wondered  when  we  got  the  thing 

to  go ; 
They  said  'twould  burst  and  kill  us  all.  some  twenty  years 

ago. 

3  The  girls  took  music  lessons  upon  the  spinning  wheel 
And  practiced  late  and  early  with  spindles,  swift,  and  reel. 
The  boys  would  ride  the  horse  to  mill  a  dozen  miles  or  so 
And  hurry  off  before  'twas  day.  some  twenty  years  ago. 

4  Yes.  everything  has  altered.     1  cannot  tell  the  cause. 
For  men  are  always  tampering  with  Nature's  wondrous 

laws. 
And  what   on  earth   are   we  coming  to  ?      Does  anybody 

know  ? 
For  peo])le  lived  not  half  so  fast  twenty  years  ago. 

B 

'Some  Twenty  Years  Ago,  or,  The  First  Old  Cooking  Stove.'  Sung 
and  written  down  by  Frank  Proffitt  of  Sugar  Grove.  Watauga  county. 
in  August  1937.     He  could  not  remember  all  "of  the  words. 

1      Well  do  I  remember  that  first  old  cooking  stove. 

That    father  bought  and  ])aid  for  in  cloth  the  girls  had 

wove. 
And  how  the  jieople  wondered  when  they  got  that  thing 

^°  S° ■     .  , 
Thev  saifl  it'd  bust  and  kill  us  all  some  twentv  vcars  ago. 


392  NORTH  CAROLINA  FOLKLORE 

Some  twenty  years  ago,  some  twenty  years  ago. 
When  the  girls  and  the  hoys,  the  men  and  the  toys 
They  work  and  they  play  in  the  night  and  the  day 
And'  the  world  and  its  ways  is  all  turned  round 
Since  twenty  years  ago. 

2  The  people  rode  to  meeting  on  sleds  instead  of  sleighs 
And  wagons  run  as  easy  as  huggies  do  nowdays. 

And  oxens  answered  well  for  teams,  luit  now  they  air  too 

slow  ; 
The  people  did  not  drive  so  fast  some  twenty  years  ago. 

3  And  men  wore  woolen  overcoats  and  boys  pants  of  tow 
And  women  linsey  dresses,  some  twenty  years  ago.   .  .  . 

c 

'Forty  Years  Ago.'  Contributed  by  IMacie  Morgan  of  Stanly  county. 
A  considerably  reduced  form,  which  has  lost  the  patent  stove. 

I     How  wondrous  are  the  changes  since  forty  years  ago ! 

When  girls  wore  woolen  dresses  and  boys  wore  pants  of 
tow; 

When  shoes  were  made  of  cowhide  and  socks  from  home- 
spun wool. 

And  the  children  did  a  half  day's  work  before  they  went 
to  school. 

Chorus: 

Just  forty  years  ago,  just  forty  years  ago. 
The  men  and  the  boys,  the  girls  and  the  toys, 
The  work  and  the  play,  the  night  and  the  day. 
The  world  and  its  ways  are  all  turned  round 
Since  forty  years  ago. 

D 

'Sixty  Years  Ago.'  Another  text  from  Stanly  county,  this  one  from 
Ruth  Morgan.  Like  the  preceding  it  lacks  the  patent  stove,  but  it  has 
one  more  stanza. 

1      How  wondrous  are  the  changes  since  sixty  years  ago! 

When  girls  wore  dresses  of  linsey  and  boys  wore  pants 
of  tow  ; 

Their  shoes  were  n)a(le  of  cowsl<in,  tlieir  socks  of  home- 
spun wool ; 

The  boys  would  do  a  half-day's  work,  yes,  sixty  years  ago. 

(7;r;r;(.s-.' 

Yes,  sixty  years  ago,  some  sixty  years  ago. 
The  world  and  its  ways  have  changed  around 
Since  sixty  years  ago. 


s  A  T  I  K  \  c  A  I.    s  ()  N  <;  s  393 

2      W'c  used  to  g(J  to  nieeting  on  sleds  instead  of  sleiglis. 
Wagons  rode  as  easy  as  buggies^  nowadays. 
Oxen  answered   well    for   teams;   but    now    they're   rather 

slow. 
LUit  people  didn't  live  so  fast  scjnie  sixty  years  ago. 

336 

li-'  You  Want  to  (io  A-Coukti.\' 

This  is  a  form  of  a  rather  widely  known  satire  on  frontier  man- 
ners and  conditions,  concerning;-  which  see  BSM  426  and  add  to 
the  references  there  given  Maine  (MM  337-8),  Florida  (SFLQ 
VIII  192-3),  Texas  (CS  [iQio]  108-9),  ^ow'a.  (MAFLS  xxix  96-7), 
and  for  the  Negroes  JAFL  xxiv  285  and  NS  192.  A  reduced 
treatment  of  the  theme  is  'Johnson  Boys,'  below. 

'If  You  Want  to  Go  A-Courtin.'  Contributed  by  Miss  Pearly  W'cbl)  of 
Pineola,  Avery  county,  in  1922,  with  the  notation :  "This  is  a  ballad 
made  up  on  a  mountain  family  in  western  North  Carolina.  1  do  not 
know  the  name." 

1  If  yott  want  to  go  a-cotirtin'  I'll  tell  yoti  where  to  go, 
Down  to  the  ol'  man's  down  below. 

The  children  all  a-s(|uallin'  and  the  ol'  folks  gone. 
The  gals  all  married  and  their  heads  not  condied. 
The  gals  all  married  and  their  heads  not  eond)ed. 

2  If  you  want  to  go  to  preachin"  I'll  tell  you  how  to  dress: 
In  ol'  ragged  breeches  1  think  is  the  best. 

Old  ragged  coat  greased  all  around, 

Old  leather  hat,  no  brim,  no  crown, 

An  old  pair  of  cotton  socks  wore  the  winter  roun'. 

An  ol'  pair  of  cotton  socks  wore  the  winter  roun'. 

3  Wdien  they  go  to  milk  I'll  tell  you  how  they  do. 
They  milk  the  old  cow  and  strain  it  in  a  gourd 
And'  set  it  in  the  corner  and  cover  with  a  board.- 
Some  gets  a  little  and  some  gets  none. 

Some  gets  a  little  and  some  gets  none. 

4  Babe  bought  a  rooster  and  Joe  bought  a  hen 

And  it  was  how  ol'  Noah  and  Delphy  shouted  hallelujah 

then. 
And  it  was  how  ol'  Noah  and  Delphy  shouted  hallelujah 

then. 

5  Joe  called  me  in  to  supper  an'  I  thought  it  was  to  eat. 
He  set  me  down  to  carve  up  the  meat. 

^  The  manuscript  has  a  superfluous  'in"  after  "Iniggies." 

-The  manuscript  has  "gourd,"  evidently  a  slip.     See  tlie  ^Hssouri  text. 


394  NORTH     CAROLINA     FOLKLORE 

He  had  an  ol'  knife  an'  he  had  no  fork. 

I  sawed  about  an  hour  an"  I  couldn't  make  a  mark, 

I  sawed  about  an  hour  an'  1  couldn't  make  a  mark. 

6  I  sawed  an'  I  sawed  an'  I  got  it  on  the  floor. 
I  gave  a  little  kick  and  I  got  it  out  o'  doors. 
I  gave  a  little  kick  and  I  got  it  out  o'  doors. 

7  Up  stepped  ol'  Noah  with  his  double  barrel  gun. 
I  says.  'Mr.  Noah,  I  guess  you  better  run.' 

Up  stepped  Noah,  as  brave  as  any  bear. 
I  tangled  my  fingers  in  ol'  Noah's  hair, 
I  tangled  my  fingers  in  ol'  Noah's  hair. 

337 
When  Young  Men  Go  Courting 

Compare  tlie  'Courting  Song.'  p.  27.  Texts  of  a  like  content, 
though  not  perliaps  to  be  identified  with  this,  are  known  in  Vir- 
ginia (SfiarpK  II  9),  Kentucky  (BKH  133),  North  Carolina 
(SharpK  11  6-8,  JAFL  xlvi  36-7).  and  Iowa  (MAFLS  xxix 
96-7).  Sharp  reports  a  single  stanza  of  like  content  as  a  play-party 
song  in  Virginia  (SfiarpK  11  378). 

'When  Young  Men  Go  Courting.'  Reported  by  Mrs.  Sutton,  apparently 
from  Caldwell  county,  and  introduced  as  follows  :  "She  laughed  as  she 
sang  it  and  her  'old  man'  smoked  his  pipe  complacently  and  asked  the 
teacher  who  was  with  us  if  he  didn't  think  the  men  had  to  fool  the 
'womern' ?  His  wife  replied  with  the  broadest  one  in  my  collection." 
But  the  two  stanzas  set  down  do  not  bear  out  this  characterization. 

1  When  young  men  go  courting 
They  dress  up  very  fine. 

For  deceiving  girls 
Is  their  only  design. 

2  They'll  tittle,  they'll  tattle, 
They'll  talk  and  they'll  lie. 
They'll  keep  the  girls  up 
Till  they're  ready  to  die. 

338 
Johnson  Boy.s 

This  is  of  the  same  temper  as  'If  You  Want  to  Go  A-Courtin" 
but  briefer.  Sometimes  it  is  described  as  a  connnunity  song,  some- 
times as  a  (lance  song  for  fiddle  and  l)anjo. 

A 

'Johnson  Boys.'  Contributed  by  I.  T.  Poole  of  Burke  county,  with  the 
notation  that  it  "used  to  be  a  popular  coninumity  song  in  Burke  county." 
The  last  two  lines  of  eacii  stanza  are  rei)eated  by  way  of  refrain. 


SATIRICAL     S  0  N  C.  S  395 

T      Johnson  boys  they  went  a-courtin', 
Johnson  boys  they  didn't  stay; 
Reason  why  they  didn't  stay  longer, 
Thev  had  no  money  to  i)ay  their  way. 

2  lolmson  hoys  were  raised  in  ashes. 
Didn't  know  how  to  court  old  maids  ; 
lluiii^ed  and  kissed  and  called  them  'honey.' 
Andit  made  those  little  gals  all  ashamed. 

3  Wake.  oh.  wake,  ye  drowsy  sleepers, 
Wake,  oh,  wake,  it's  almost  day  ; 

Raise  up  your  head  and  look  out  the  window 
And  see  those  pretty  girls  going  away. 

B 
•Jolmson  Boys.'     Reported  by  Mrs.  Sutton  from  Lenoir,  Caldwell  county. 
With  the  tune. 

1  Johnson  boys  they  went  a-courtin" ; 
Johnson  boys  they  didn't  stay; 

The  reason  why  they  went  no  further. 
Had  no  money  fur  to  pay  their  way. 
Had  no  money  fur  to  pay  their  way. 

2  Johnson  boys  brave  and  jolly. 
They  know  how  to  court  old  maids. 
Kis.s  and  hug  and  call  them  'honey' ; 
Rush  up.  pretty  girls,  don't  be  afraid. 
Rush  up.  pretty  girls,  don't  be  afraid. 

c 
'Johnson  Bovs.'  Contributed  bv  Thomas  Smith,  Zionville.  Watauga 
county.  The  first  stanza  only,  as  in  A  and  B.  with  the  note :  Dance 
song— fiddle  and  banjo.  There  is  another  verse  or  two  of  the  old  time 
banjo  and  fiddle  tune  which  1  haven't  been  able  to  get.  'Johnson  Boys 
is  said  by  our  oldest  people  to  be  one  of  the  oldest  tunes. __  It  was  years 
ago  one  of  the  chief  tunes  played  at  parties,  shindigs,  etc. 

D 
•The   Johnston   Boys   They   Went   A-Courting.'      C\)ntributcd   in    i<j22   by 
'-  Pickens.     First  stanza  only. 

339 
Leave  for  Texas.  Leave  for  Tennessee 
A   somewhat   similar  song,   but   not   the   same,   is   reported    from 
Tennessee  (SSSA  71-2). 

A 

No  title.     Obtained  from    Mrs.   Minnie   Church,   Heatnn.   Avery   county, 
in   1930. 


396  NORTH   CAROLINA  FOLKLORE 

1  Leave  for  Texas,  leave  for  Tennessee, 
Leave  for  Texas,  leave  for  Tennessee, 
Leave  for  Thalnia. 

That  gal  has  made  a  wreck  out  of  me. 
(yodel) 

2  If  }'ou  don't  want  me.  mama,  you  don't  have  to  scold, 
If  you  don't  want  me,  mama,  you  don't  ha\'e  to  scold, 
'Cause  I  can  get  more  women  there 

Than  a  passenger  train  can  hold. 
( yodel ) 

3  Going  to  huy  me  a  pistol  just  as  long  as  a  pole, 
Going  to  buy  me  a  pistol  just  as  long  as  a  pole, 
Going  to  shoot  poor  Thalma 

Just  to  sec  her  jump  and  fall. 

4  Going  where  the  water  tastes  like  cherry  wine. 
Going  where  the  water  tastes  like  cherry  wine ; 
'Cause  the  Georgia  water 

Taste  like  turpentine. 

B 

'Blue  Yodel.'  From  the  John  Burch  Blaylock  Collection.  Mr.  Richard 
Lewis  of  Chapel  Hill  knows  the  song  by  its  opening  line  but  is  not 
familiar  with  the  last  stanza. 

1  T's  for  Texas,  T's  for  Tennessee, 
T's  for  Texas,  T's  for  Tennessee, 
T's  for  Thelma 

That  gal  has  made  a  wreck  out  of  me. 

2  If  you  don't  v.-ant  me,  mama,  you  don't  have  to  call. 
If  you  don't  want  me,  mama,  you  don't  have  to  call. 
For  I  got  more  women  than  a  passenger  can  haul. 

3  I'm  gonna  buy  me  a  pistol  just  as  long  as  I'm  tall; 
I'm  gonna  buy  me  a  pistol  just  as  long  as  I'm  tall; 

I'm  gonna  shoot  poor  Thelma,  just  to  see  her  jump  and 
fail. 

4  I'm    gonna    bux'    nic   a    shotgun    with    a   great    Itmg    sln"n\- 

Ijarrel  ; 
I'm   gonna   buy   mc   a   shotgun    with   a  great    long   shiny 

barrel  ; 
I'm  gonna  shoot  that  rounder  that  stole  away  mv  gal. 

5  I'm  going  wlierc  tlie  water  di-inks  like  cherr\-  wine; 
I'm  going  where  the  water  drinks  like  cherry  wine; 
For  the  Georgia  water  tastes  like  turpentine. 


S  A  T  I  U  1  (,■  A  I.     S  ()  X  (".  s  397 

6  I'd  rather  drink  muddy  water  and  slcej)  in  a  hollow  log, 
I'd  rather  drink  nuuldy  water  and  sleep  in  a  hollow  log 
Than  stav  in  ( ieorgia  and  he  treated  like  a  dirty  dog. 


340 

TnK  Wood  I  Iai'lf.r 

Tliis  song  has  traveled,  if  the  account  of  its  origin  given  to  the 
editors  of  I'crmont  Folk-Songs  and  Ballads  is  to  he  trusted,  con- 
siderable distances  in  more  than  one  direction;  it  is  known  in  Ver- 
mont (VFSB  43-5),  Pennsylvania  (NPM  51-2),  West  Virginia 
(FSS  404),  Kentucky  (OSC  231-2),  Michigan  (BSSM  407-8), 
and  North  Dakota  (BSSB  132-3)  as  well  as  in  North  Carolina, 
and  the  Lomaxes  say  (OSC  231)  that  they  have  found  it  in  New 
York  State.  It  commonly  carries  a  date  in  its  first  line:  1875  in 
Vermont,  1855  in  Pennsvlvania.  1865  in  Kentucky,  1805  in  Michi- 
gan and  North  Dakota,  1845  i"  North  Carolina:  in  West  Virginia 
it  is  dated  only  by  the  hero's  coming  of  age.  In  Kentucky  he  hauls 
coal,  not  wood.  '  His  horse's  name  is  Gray  or  Grayie  in  all  the 
texts  except  that  from  Pennsylvania,  where  it  is  Old  Bill.  His 
father  follows  him  to  recall  him  from  his  spree  in  all  the  texts 
except  those  from  West  Virginia  and  Michigan.  All  the  texts 
except  that  from  Pennsylvania  end  with  a  reproof  to  talebearers. 
Only  in  the  second  North  Carolina  text  is  the  young  man's  drunken 
frolic  associated  with  election  day. 


'The    Wood    Hauler.'      Obtained    from    Frank    Proffitt,    Sugar    Grove, 
Watauga  county,  in  i937- 

1  I  came  to  this  country  in  1845, 

I  found  it  quite  lucky  to  find  myself  alive. 
I  geared  up  my  horses,  my  business  to  pursue. 
Went  out  to  hauling  wood  like  I  used  for  to  do. 

2  Instead  of  hauling  five  loads,  I  only  hauled  hut  four; 

I  got  so  drunk  in  Curdell  Town  till    1   couldn't  haul  no 

more. 
1  picked  up  my  saddle  and  I  walked  out  to  the  harn 
And  saddled  up  old  (iray.  not  thinking  any  harm. 

3  I  .saddled  uj)  old  (iray,  not  thinking  any  harm. 
I  saddled  up  old  Gray  and  I  rcjde  away  so  still 

I  scarcely  drew  hreath  till  1  came  to  Laurel  Hill. 

4  My  father  followed  after  me,  I  heard  them  say; 

He  must  have  had  a  i)ilot  or  lie  couldn't  have   fdund  the 

wav. 

"(Frank  couldn't  recall  two  verses  here.) 


398  NORTH      CAROLINA     FOLKLORE 

5  I  peeped  in  at  every  tavern  crack  and  ere  I  spied  a  light, 
And  the  locks  they  got  wet  by  the  dew  of  the  night. ^ 
Boys.  I  will  tell  you  how  the  frolic  did  advance ; 

They  was  four  of  us  all  out  on  the  floor  for  to  dance. 

6  The  fiddler  being  willing,  his  arms  being  strong. 

He  played  'The  Groimds  of  (31d  Ireland'-  for  four  hours 

long. 
The    morning    stars    are    raining,'^    boys ;    I    think    we've 

danced  enough  ; 
We'll  spend  one  half  a  hour  in  collecting  cash  for  cuff.^ 

7  I'll  go  home  to  my  plow  and  I  swizzle  and  I'll  sing 

(Two  lines  here  that  Profitt  could  not  recall.) 
And  I  never  will  be  catched  in  such  a  scrap  again. 

8  Come  all  you  old  women  that  carries  news  about, 
Pray  never  tell  a  lie.  for  it's  bad  enough  without. 
For  them  that  tells  lies  and  keeps  up  such  a  fuss 
They're  guilty  of  the  same  crime,  perhaps  a  great  deal 

wuss. 


'One  'Lection  Morning.'  Communicated  by  Ruth  Morgan,  Stanly  county. 
The  manuscript  is  variously  misspelled  and  sometimes  hardly  construable. 
I  have  silently  corrected  it  where  the  errors  seem  to  be  due  merely  to 
careless  writing,  but  in  others,  where  the  right  reading  is  not  apparent, 
I  have  followed  the  manuscript. 

I     One  Lection  and  morning,  1845, 

I  thought  myself  quite  lucky  to  find  myself  alive. 
I  harnessed  up  my  horse  my  business  to  ptirsue 
As  I  went  to  hauling  coal  as  I  used  for  to  do."' 

^  The  Vermont  and  North  Dakota  texts  show  how  the  first  two  lines 
of  this  stanza  should  read ;  the  "he"  is  the  young  man's  father  : 

He  peeped  through  every  keyhole  where  he  could  spy  a  light, 
Till  his  locks  were  all  wet  with  the  dews  of  the  night. 
In  the  Michigan  text,  however,  as  in  ours,  it  is  the  young  man  himself 
who  does  the  spying : 

J  peeked  in  every  keyhole  where  I  could  spy  a  light 
Till  my  locks  were  all  wet  with  the  dews  of  the  night. 
"  The  tune  is  called  'The  Grounds  of  Ireland'  in  Vermont,  'The  Bowls 
of  Ireland'  in  Pennsylvania,  'The  Drowned  Irish  Boy'  in  West  Virginia, 
'The  Bows  of  Ireland'  in  Michigan,  'The  Crowns  of  C)ld  Ireland'  in  North 
Dakota,  and  'The  Ground  of  Louisville'  in  North  Carolina  B. 

■'  This  should  presumal)ly  be  "reigning"  or  "rising"  ;  North  Dakota  has 
"the  morning  star  has  dawned." 

^  This  is  "those  old  cuffs"  in  Vermont  and  "Cuff"  in   North  Dakota: 
in   West   Virginia  it  is  "cash   for  snuff"  and  in   Kentucky  "Kasher-cuff," 
wiiicli   is  said  to  mean  p^iying  cash  to  cuff.     None  of  these  expressions 
is  quite  intelligible  to  the  editor. 
''  This  line  reads  in  the  manuscript : 

As  I  went  to  haolding  colds  as  I  sue  fur  to  do. 


S  A  T  I  K  I  f  A  I.     SONGS  399 

\\  ith  niv  saddle  on  my  l)ack  a-goinj^-  to  the  barn 
1  saddle  up  my  old  gray,  not  thinking  any  harm. 
I  hopped  upon  his  back  and  I  rode  away  so  still 
That  I  scarcely  drew  a  breath  till  I  enterefl  Louisville. 

The  barroom'  l)eing  opened,  the  licker  goin*  free. 
As  fast  as  1  emptied  one  glass  another  was  filled  for  me. 
1  only  haulded  one  load  instead  of  haulding  four. 
Till  1  got  so  drunk  in  Louisville  I  could  not  haul  no  more. 

My  father  followed  me.  he  followed  until  day; 

He  nuist  'a'  had  a  pilot  or  he  couldn't  found  the  way. 

He  peered  in  every  corner  wherever  he  saw  light. 

Till  the  old  grey  locks  was  wet  with  the  dews  of  the  night. 

1  met  an  old  acquaintance — his  name  1  dare  not  tell — 
He  invited  me  where  fiddle  and  dancing  was  to  be. 
There  four  young  ladies  walked  out  to  take  a  dance ; 
The  four  young  gentlemen  walked  to  take  a  vance.- 
The  fiddlers  being  willing,  their  arms  being  strong. 
Till  they   played  the  ground  of  Louisville   fulfilled   four 
hours  long. 

Come  all  ye  young  people  who  carries  news  about, 
Don't  tell  no  lies,  for  you're  bad  enough  without. 
You  make  a  mighty  racket  and  you  carry  news  about. 
And  you  guilty  of  the  same  thing,  perhaps  a  great  deal 
worse. 


341 
Walk  in  the  Parlor 

The  pieces  here  assembled  under  this  title  are  all  descendants  of 
a  hig-hly  popular  song  of  the  minstrel  stage  a  hundred  years  ago. 
concerning  wliich  see  Cox's  headnote  to  his  West  Virginia  version, 
FSS  503.  In  its  fuller  form  it  is  a  burlesque  version  of  Bible 
stories,  as  in  A  and  B  below.  Texts  from  later  tradition  vary  a 
good  deal.  Cox's  from  West  Virginia,  Ford's  from  the  Midwest 
(Traditional  Music  of  America  278-80),  and  our  A  and  B,  though 
they  all  go  back  to  the  minstrel  song  of  the  1840s,  diiifer  widely, 
even  in  tbe  chorus.  Bits  of  it  are  reported  as  sung  by  Negroes  in 
Mississippi  (JAFL  xxvi  159)  and  Alabama  (ANFS  136,  141,  144). 
A  song  with  a  like  theme  but  not,  so  far  as  I  can  make  out,  of  the 
same  derivation,  'I  Was  Born  about  Ten  Thousand  Years  Ago.'  is 
separately  considered,  as  are  also  'When  .■Xdam  Was  Created'  and 
'Ye    Lords    of    Creation,'    which    are    (|uite    dif^'creiit    alTairs.      The 

'  The  manuscript  has  "barn  room." 

-  West  X'irginia  has  "advance" :  the  other  texts  throw  no  light  on 
the  passage 

N.C.F.,  \ol.  III.  (J8) 


400  NORTH  CAROLINA  FOLKLORE 

fragments  E  and  F  retain  not  much  more  tlian  the  cliorus  of  the 
original  song. 

A 

'Sunday  School  Song.'  Contributed  in  1923  by  Miss  Mary  Scarborough 
of  Wanchese,  Roanoke  Island.  What  is  here  set  down  as  the  first  stanza 
is  in  B  called  the  chorus. 

1  Young  folks,  old  folks,  everybody  come. 

Come  to  our  Stmday  school  and  make  yourselves  at  home. 
Please  check  yotir  chewing  gum  and  razors  at  the  door. 
And  you'll  hear  more  Bible  stories  than  you've  ever  heard 
before. 

2  Adam  was  the  first  man ;  Eve  was  his  spouse. 
They  never  had  a  bit  of  trouble  keeping  house ; 
Folks  said  their  married  life  was  happy  in  the  main 
Until  they  had  a  little  kid  and  started  raising  Cain. 

3  Noah  was  a  sailor,  he  sailed  upon  the  sea. 

He  took  along  a  circus  and  a  whole  menagerie. 
He  spent  his  time  a-fishing.  so  the  Bible  tale  confirms, 
But  he  couldn't  do  much  fishing  'cause  he  only  had  two 
worms. 

4  David  was  a  fighter,  a  plucky  little  cuss. 
Saw  Goliath  coming,  pining  for  a  fuss. 

He  knew  he'd  have  to  fight  him  or  else  he'd  have  to  dust ; 
So  he  picked  up  a  cobble  stone  and  busted  in  his  crust. 

5  Salome  was  a  dancer,  she  danced  the  hootchy  kootch. 
The   people    raised   a   racket    'cause    she    didn't    wear    so 

mooch. 
The  King  said,  'My  dear,  we  cannot  have  that  here.' 
Saloiue  said,  'The  heck  you  can't,'  and  kicked  him  in  the 

ear. 

6  Daniel  was  a  naughty  man,  he  wouldn't  mind  the  King. 
The  King  had  never  heard  of  such  a  funny  thing. 

So  he  put  him  a  den  with  the  lions  underneath  ; 

P»ut  Daniel  was  a  dentist,  so  he  pulled  the  lions'  teeth. 

7  I'haraoh  kept  the  Israelites  to  make  his  cigarettes. 

He  wouldn't  give  them  wages  and  he  wouldn't  ])ay  their 

debts. 
So  Moses,  walking  delegate,  advised  them  all  to  strike; 
So  they  ])icked  up  all  the  liay  in  sight  and  biat   it   down 

the  pike. 

8  Jonah  was  a  sailor,  so  runs  the  Uible  tale. 

lie  tried  to  cross  the  ocean  in  the  steerage  of  a  whale. 


s  A  r  I  K  I  r  A  I,    s  {)  N  c  s  401 

jdiiah  in  the  whale   teU  a  hit  opprcsst'ch 

So  he  merely  i)ushe(l  a  Inittun  and  the  whale  did  the  rest. 

B 

'Yming  Folks,  Old  I'dlks,  Everybody  Come.'  Contributed  by  Mrs.  W.  L. 
Pridgen  of  Durbani  in  1923.  Differs  from  A  by  omissions,  contraction, 
rearrangement,  and  tlie  introduction  of  new  matter.  .\nd  wliat  is  entered 
in  .A  as  stanza   i   is  liere  called,  no  doubt  rigbtly,  tlie  cliorus. 

1  Adam  was  the  first   man  ever  was  invented. 
Alonj^-  eame  hA'e  and  he  was  eontented. 
.\l()n<,r  came  old  Noali,  fnmhlins^-  in  the  dark. 
(jrahhed  n])  a  hannner  and  lie  hnilt  himsell  an  ark. 

Chorus: 

(_)ld  folks,  vonng  folks,  everhody  come. 

Come   join   the   Sunday   School   and   make  yourself   at 

home. 
Please  check  your  chewing  gum  and  razors  at  the  door. 
And  you'll  hear  more  Bible  stories  than  you  ever  heard 

before. 

2  David  had  a  slingshot ;  a  funny  little  cuss. 
Along  came  Goliath,  just  a-pining  for  a  ftiss. 

David  saw  he'd  have  to  fight  or  else  he'd  have  to  dust, 
So  he  grabbed  him  up  a  col)ble  stone  and  Inisted  in  his 
crust. 

3  K\e  had  an  ai)i)le.     She  cut  it  in  two. 

She  gave  Adam  half,  and  that  wouldn't  do. 

Cain  fired  up,  got  mad  mighty  c[uick. 

So  he  slapped  old  Abel  in  the  neck  with  a  brick. 

4  I  thank  you  for  your  kindness  and  your  \ery  kind  ajjplause. 
I    cannot    sing    for    yott    any    more    becatise — l)ecause — 

because — 
There's  more  upon  the  i)rogram.  but  I  fear  1  am  a  bore. 
The  really  truly  reason  is,  I  don't  know  any  more. 


'If  Religion  Was  a  Thing  That  Money  Could  Buy.'  Contril)uted  l)y 
J.  C.  Paisley.  Date  and  region  not  noted  on  tlie  manuscript.  This  is 
a  Negro  version,  somewhat  different  in  temper  and  with  a  quite  different 
chorus  ;  yet  stanzas  2  and  5  are  tlie  same  as  stanziis  i  and  3  of  B. 

I      If  religion  was  a  thing  that  money  could  buy   • 
The  Jews  would  live  and  the  Irish  die. 
Ain't  I  glad  that  this  ain't  so ! 
Dis  ole  nigger  gunter  stand  a  little  show. 


402  NORTH     CAROLINA     FOLKLORE 

C  liorus: 

Live  a  humble,  live  a  hunihle. 
Live  a  humble  till  I  die. 

2  Adam  was  the  first  man  that  was  ever  invented. 
Den  come  Eve  and  den  he  was  contented. 
'Long  come  Noah  fumbling  in  the  dark. 

He  grabbed  up  a  hammer  and  built  himself  a  ark. 

3  Den  come  the  animals  two  by  two, 
De  hippopotumus,  de  kik  kangaroo. 
Den  come  de  monkey,  den  come  de  bar. 
Den  come  de  elephant  without  any  bar. 

4  Next  come  de  whale  ;  he  was  a  snorter. 

He  grabbed  old  Jonah  right  under  the  water. 

Three  days  and  three  nights  he  was  a-getting  mighty  rank. 

And  he  fired  old  Jonah  right  out  on  the  bank. 

5  Eve  she  had  an  api)le ;  she  cut  it  in  two. 

She  gave  Abel  half.     Well,  that  wouldn't  do; 
Cain  fired  up,  he  got  mad  mighty  quick. 
He  soaked  old  Abel  in  the  neck  with  a  brick. 

D 
'Adam  Wa.s  the  First  Man."     From  Mr.  Southgate  Jones  of  Durham  in 
1920.     He  writes :   "Some  fifteen  years  ago   I  used  to  hear  sung  several 
verses  which  began  with 

Adam  was  the  first  man  ever  was  invented ; 
Me  lived  in  a  mud  house  all  contented. 

"Long  came  brother  Xoali  stumbling  in  the  dark. 
lie  got  a  hammer  "n  nails  and  built  him  an  ark." 

E 

'Walk  in  the  Parlor."     Ccmtrihuted  l)y   Laura   M.  Cromartie  of  Garland. 
Sampson  county.     Not  dated. 

The  creeks  all  muddy,  the  ponds  all  dry, 
'T wasn't  for  the  tadpoles  we'd  all  die. 

J'irsf  chorus: 

Walk  in,  walk  in.  walk  in,  I  say, 

Walk  in  de  ])arlor  and  hear  de  banjo  play  ; 

Walk  in  de  parlor  and  hear  de  banjo  ring. 

\\  atch  a  nigger  finger  while  he  pick  upon  a  string. 

Second  chorus: 

Walk  in.  walk  in,  walk  in,  1  say. 

Walk  in  de  parlor  and  hear  de  banjo  play. 

Dere's  a  little  ash  cake  an'  not  a  bit  of  fat ; 

The  white  folks  '11  grumble  if  vou  eat  luuch  of  dat. 


S  A  T  I  k  I  C  A  I.     S  ()  \  C.  S  403 


'Walk  ill  tlic  Parlor."     Contrilnitt-d  by  Jennie   Belvin  of   Dnrliani  in  July 
1922.     Only  fonr  lines. 


Walking  and  a-walking 
-\nd  a-walking,  I  say, 
W  alking  in  the  parlor 
I^'ur  to  hear  the  banjo  i)lay, 


342 

PrKACIIKR   in   the   F^ULl'IT 

Except  for  the  pos.sible  .seriou.sness  of  its  tone,  this  song  resembles 
some  social  songs  in  White  ANFS  308,  367. 

'Oh,  Lordy,  Come  This  A-Way.'  From  Miss  Luna  Weaver,  Piney 
Creek,  Alleghany  county:  undated,  but  c.  1921-22.  Phonograph  record- 
ing, Piney  Creek,  N.  C,  1922. 

Preacher  in  the  pulpit,  l>ible  in  his  hand. 
Preacher  in  the  pulpit,  Bible  in  his  hand. 
Preacher  in  the  pulpit,  Bible  in  his  hand  ; 
Devil  in  the  meal-sack,  shaking  out  bran. 
Oh,  Lordy,  come  this  a-way. 
Oh,  Lordy,  come  this  a-vvay, 
Oh,  Lordy,  come  this  a-way. 
Never  let  the  .  .  .  you  a-way. 

343 

Preacher's  in  de  Pulpit 

The  first  stanza  is  of  the  pattern  parodied  in  songs  reported  by 
White  ANFS  308,  367.  The  chorus  corresponds  to  'Fm  Going  to 
Land  on  the  Shore,'  Jackson  WNS  205. 

'Preacher's  in  de  Pulpit.'  From  Julian  P.  Boyd,  as  collected  from 
Ruby  Casey,  a  pupil  in  the  school  at  Alliance,  Pamlico  county ;  undated, 
but  c.  1927-28.     "Negro  fragment." 

I      Preacher's  in  de  pulpit, 
Preachin'  mighty  bold. 
Preachin'  fur  de  money 
T(j  save  de  sinner's  soul. 

Chorus: 

Fm  gwine  de  land  on  de  sho', 
I'm  gwine  de  land  on  de  sho', 
I'm  gwine  de  land  on  de  she', 
And  rest  forevermo'. 


404  NORTH      CAROLINA     FOLKLORE 

2      When  I  gits  in  1  k-bcn, 
Want  you  to  be  there  too; 
When  I  say,  'Thank  God,' 
1  want  vou  to  sav  so  too. 


344 
Wait  on  de  Lord 

This  is  marked:  "Nesro  fragment?"  Dr.  White  notes:  "Stanzas 
_'  and  3  are  adapted  into  Negro  song  from  wliite  spirituals.  Stanza 
,^  is  a  variation  of 

I'm   Mttliodist  Ixini  and   Methodist  bred, 
And  wlicn  I  die  I'm  a  Methodist  dead, 

which  enters  tlie  University  of  North  Carohna  coHege  song  [chorus 
of  'Hark  the  Sound  of  Tar  Heel  Voices']  by  substituting  'Tar 
Heel'  for  'Methodist.'"  Cf.  'Baptist.  Baptist  Is'  My  Name,'  in  the 
present  collection. 

'Wait  on  de  Lord.'  From  Julian  P.  Boyd,  Alliance,  Pamlico  county ; 
undated,  but  c.  1927-28. 

1  I  wonder  where  is  Spencer  gone, 
That  used  to  preach  up  town. 
The  church  is  all  in  mourning. 
And  Spencer  can't  be  found. 

Chorus: 

I'm  waitin'  on  de  Lord. 
Wait  on  de  Lord,  wait,  wait. 
Wait  on  de  Lord. 

2  Some  .says  John  de  Baptist 
is  nothing  but  a  Jew. 

The  Holy  l>ible  tells  us 
He  was  a  preacher  too. 

3  A  P)a])tist,  I>aptist  is  my  name, 
And  a  Baptist  will  1  die. 

ni  l)e  a  Uaptist  in  the  l>aptist  C"hiu-ch 
.And  eat  all  the  baptist  pie. 

345 
I  Ni:\i:r  Will  Ti'kx  Hack  Aw  AIokf. 

'i'hc  song  evidently  belongs  to  the  class  which  White,  in  ANFS 
130- 1,  calls  "upstart  crows,"  i.e.,  pieces  mildly  ridiculing  religious 
fervor  or  burles(|uing  well-known  songs  of  spiritual  experience. 
Refrain  and  chorus  and  "1  went  down  in  the  meadow  for  to  pray" 
are  taken  from  serious  spirituals.  Cf.  'No  More!  No  More!'  in 
this  collection. 


S  A  T  I  1<  1  (.■  A  I.     S  O  N  C;  S  405 

'1  Never  Will  'rurn  l?ack  Any  More'  Vroiu  MSS  of  G.  S.  R()l)ins(in, 
Ashevillc,   August  4,    1939. 

1  W'lu'ii  1  was  a  hoy  I  had  a  liltU-  nnile 
That  1  always  rode  to  Sunday  School. 
Lord.  I  never  will  turn  hack  any  more. 

2  I  rode  that  mule  to  church  one  day. 
And  that  old  mule  "ot  in  an  awful  way. 
Lord.  I  never  will  turn  hack  any  more. 

Chorus: 

Any  more,  my  Lord,  any  more,  my  Lord, 
Lord,  I'll  never  turn  hack  any  more. 

3  I  went  down  in  the  meadow  for  to  pray, 
I  met  old  Satan  on  the  way. 

Lord,  ril  never  turn  hack  any  more. 

4  1  turned  around  to  run  my  hest, 
And  run  my  head  in  a  hornet's  nest. 
Lord,  ril  never  turn  back  any  more. 

346 

Jonah  and  the  Whale 

There  is  some  evidence  that  songs  about  Jonah  and  the  wliale 
have  been  sung  as  serious  spirituals.  White  (ANFS  98-9)  in- 
cludes some  versions  as  religious  songs  and  cites  W.  E.  Barton's 
inclusion  of  it  in  Old  Plantation  Hymns  (New  York,  1899).  But 
most  of  White's  versions  and  those  in  other  printed  collections 
indicate  that  it  has  been  sung  chiefly  as  a  "coon"  or  college  glee- 
club  number.  Such  would  seem  to  be  the  tone  and  usage  of  the 
following  versions. 

A 

'Jonah  and  the  Whale.'  With  mnsic.  From  R.  A.  Swaringen,  Trinity 
College  stndent  (A.B.  1925?,  Duke  University  summer  school  1929, 
1031,  1933).  Kannapolis,  Cabarrus  county.  Typescript,  with  two  AISS 
in  Dr.  Brown's  hand. 

( )h.  for  three  long  days  and  three  long  nights 

Jonah  lay  in  the  helly  of  the  whale. 

Spewed  him  up  in  a  sandy  place. 

The  sun  was  a-shinin'  right  down  in  Jonah's  face. 

Well,  a  gourd  vine  growed  up  and  around. 

Along  come  a  little  worm  and  cut  him  down. 

Now.  wasn't  that  a  cross  on  Jonah's  little  crown? 

Chorus: 

Living  hunihle.  humhle,  hunihle, 
Living  humble  all  your  days. 


406  NORTH     CAROLINA     FOLKLORE 

B 

'Jonah   and   the   Whale.'     With   music.     From    Misses    Hallie   and   Jean 
Holeman,  Durham,   1922.     Phonograph  recording,  Durham,  N.  C,   1922. 

1  [Not  recalled.] 

Chorus: 

Humble,  humble,  humble  my  soul, 
An'  de  bell  done  rung. 

2  Dey  throwed  Brer  Jonah  right  over  de  board, 
An'  a  big  fish  swallowed  Brer  Jonah  whole. 

3  Brer  Jonah  he  prayed  to  de  Lord  fer  Ian', 
An'  he  heave  Brer  Jonah  right  on  dry  san'. 

4  Brer  Jonah  he  prayed  to  de  Lord  fer  shade. 
An'  de  gourd  vine  growed  right  over  his  haid. 


'Jonah  and  the  Whale."  From  Julian  P.  Boyd,  as  collected  from  Alinnie 
Lee.  a  pupil  in  Alliance,  Pamlico  county ;  undated,  hut  c.  1927-28.  Dr. 
White  notes  :  "Mixes  Jonah  with  the  traditional  gospel  train  and  gospel 
ship."  This  corresponds  in  part  to  'Jonah  and  the  Whale'  in  Randolph 
OFS  in  368-9.  Randolph  notes  that  three  stanzas  and  the  chorus  of 
his  song  appeared  in  Haiiiliii's  Wizard  Oil  Soiujbook.  1897. 

1  Old  Jonah  like  a  fool 

Got  as  stubborn  as  a  mule ! 

But  the  whale  made  him  (|uiokly  disajjpcar. 

Jonah  took  out  his  razor 

And  cut  the  whale  in  two ; 

He  floated  to  the  shore  on  his  ear. 

Chorus: 

Hide  away,  hide  away. 

For  there  ain't  no  use 

To  try  to  hide  away  ! 

Put  your  l)aggage  on  the  deck. 

And  don't  forget  yoiu-  check. 

For  you  stay  in  the  boat. 

There  aint'  no  use  tryin'  to  hide  away  ! 

2  ( )h,  let  me  tell  you  boys. 
You  had  better  look  out, 

F"or  the  opposition  l)oat  am  a-runnin'  too; 

For  the  boiler  am  a-liablc 

To  bust  at  any  time 

.And  cook  you  Niggers  up  in  a  stew ! 


S  A   T  1  K  1  f  A  I,     S  0  N  C  S  4^7 

D 

'Jonah   and   the   Whale'      From   Miss   Fanccttc    (no  other   information). 

1  The  whale  he,  yes.  he  did, 
The  whale  he.  no,  he  di(hi't. 
The  whale  he  swalltnved  Jonah, 
The  whale  he  swallowed  Jonah, 

The  whale  he  swallowed  Jonah  down. 

2  He  spit  him  np,  yes,  he  did. 
He  spit  him  up,  no,  he  didn't. 
He  spit  him  up  on  some  sandy. 
He  spit  him  up  on  some  sandy. 

He  spit  him  up  on  some  sandy  land. 

3  The  gourd  vine,  yes,  he  did. 
The  gourd  vine,  no,  he  didn't. 

The  gourd  vine  growed  around  Jonah's, 
The  gourd  vine  growed  around  Jonah's, 
The  gourd  vine  growed  around  Jonah's  head. 

4  The  greedy  worm,  yes,  he  did. 
The  greedy  worm,  no,  he  didn't. 

The  greedy  worm  come  along  and  cut  it, 
The  greed}'  worm  come  along  and  cut  it. 
The  greedy  worm  come  along  and  cut  it  down. 


'Jonah.'     From  Mrs.  J.  W.   Barbee,  Durham;  undated.     The  repetitions 
shown  in  stanza  i  are  continued  throughout. 

1  A  whale  did,  oh,  yes,  he  did, 
A  whale  did,  I  know  he  did, 

A  whale  did  swallow  Brother  Jonias  down. 

A  whale  did,  oh,  yes,  he  did, 

A  whale  did.  1  know  he  did, 

A  whale  did  swallow  Brother  Jonias, 

A  whale  did  swallow  Brother  Jonias  down. 

2  He  throwed  him  up,  oh,  yes,  he  did. 

He  throwed  him  up  on  some  sand}'  land. 

3  A  gourd  vine,  oh,  yes,  it  was, 

A  gourd  vine  growed  round  Jonias'  head. 

4  A  greedy  worm,  oh,  yes,  it  was, 

A  greedy  worm  came  along  and  cut  it  down. 

F 

No  title.  From  an  anonymous  contributor,  without  indication  of  date 
and  address.  This  is  one  form  familiar  in  college  glee-chib  and  other 
humorous  adaptations. 


408  X  (t  R  T  II      t"  A  R  0  L  1  N  A      K  O  L  K  L  0  R  K 

A  whale  did.  a  whale  did. 
A  whale  did  swallow  J.  j.  Jonah. 
A  whale  did  swallow  J.  J.  Jonah. 
A  whale  did  swallnw  hmah  down. 


347 
Jesus  Lover  of  My  Soul 

White,  wlio  puhlislied  tlie  text    ( witliout  music  i    in   ANFS    133. 
noted  that  it  is  a  parody  of  a  familiar  liymn. 

'Jesus  Lover  of  My  Soul."  From  K.  W.  l.itaker,  Trinity  College  stu- 
dent, December  5,  1919,  witli  music  and  note :  "Heard  in  Cabarrus 
county." 


Jestis,  lover  of  my  sonl. 
Set  me  on  top  of  telegram  pole. 
When  the  pole  begins  to  break 
Take  me  down  for  Jesus'  sake. 


34S 

P)OB  Tngersoll  and  the  Devil 

Though  we  think  tlie  song  is  of  minstrel  or  vaudeville  origin, 
we  have  not  found  it  elsewhere.  It  is  in  different  meter  from 
'Shinbone  Alley.'  No.  422. 

No  title.  Contril)uted.  witliout  record  of  date  and  address,  by  William 
C.  Cumming.  with  the  fdllowing  note :  "In  my  efforts  to  discover  folk- 
lore I  was  given  a  song  that  was  said  to  be  used  at  Negro  camp  meet- 
ings (in  Pirunswick  Co.)  a  good  many  years  ago.  There  are  some 
things  about  it  that  are  indeed  characteristic  of  Negro  songs,  but  the 
utter  inconsistency  of  the  meter  shows  that  it  has  lost  much  in  trans- 
mission. It  is  said  to  be  sung  to  the  tune  of  'Shin  Bone  Alley,'  what- 
ever that  may  be,  and  is  as  follows." 

Some  dese  days  gwine  hit  'ini. 
Ingersoll  sing  anndder  song 
\\  hen  de  dehbill  git  "im. 
Debbil  watch  fo'  sich  as  him. 
Ketch  'im  in  de  cnllar. 
Choke  'im  black  an"  hit  "ini  blini. 
Butt  "im  till  he  holler. 
Debbil  stand  kimbo  straight. 
Laugh  at  Ing'soll  jirancin', 
Stan'  'im  in  a  red  hot  ])late. 
I  *at  while  I'.ob'.s  adancin'. 


SATIRICAL     S  0  N  C  S 


4OC) 


349 

Lord,  I  Nfa'kr  W'li.i.  C'o.mk  IJack   IIi'-.rk  No  Mo' 

From  Miss  Jewell  Robljiiis,  Pckin,  .Montgimicry  county  (later  Mrs. 
C.  B.  Perdue).  July  1922,  with  music.  The  first  stanza  is  found  in  a 
spiritual   in  this  collection. 

1  .Some  <)'  (k'se  (l;i\'s  ;il)<)iit  twtJvc-  o'clock, 
Dis  old  worl's  a  gwi'  reel  and  rock. 
Lawd.  I  neber  will  come  back  bere  no  more. 

Chorus: 

No  nio',  my  Lawd  ; 
No  mo",  my  Lawd; 
I  nebber  come  back  bere  no  mo'. 

2  \\  av  down  yonder  about  Arkansas 

De  niggers  ain't  a-arguin'  a  tiling  but  wa'. 


CYPRESS    KNEES 


X 


SONGS    OF    PRISONERS 
AND    TRAMPS 


'~r*HE  SONGS  in  the  following-  small  section  have  affinities  with 
-*-  many  pieces  in  several  preceding  sections.  They  are  super- 
ficially related  to  the  outlaw  and  murder  ballads.  They  differ  from 
those,  however,  in  subject-matter,  aim,  emphasis,  and  point  of  view. 
Whereas  in  the  ballads  the  substance  is  action  and  the  chief  object 
is  to  tell  a  story,  in  the  songs  about  to  be  presented  the  material 
is  mainly  feeling  and  mood,  and  the  purpose  is  to  indulge  in  self- 
pity,  to  convey  a  state  of  mind,  or  to  arouse  sympathy.  By  the 
latter  criteria  several  pieces  placed  among  the  ballads,  e.g.,  "Tom 
Dula's  Lament'  and  'Shackleford's  Farewell  Song,'  would  properly 
belong  here;  but  they  have  been  left  with  the  true  ballads  about 
the  same  persons.  The  following  songs  also  resemble  many  of  the 
constituents  of  the  "Folk  Lyric"  section.  They  are  separated  from 
those  because  they  show  a  degree  of  homogeneous  specialization  in 
their  subjects.  They  are  the  lonely,  sometimes  maudlin,  cry  of 
men  who  have  been  alienated  from  normal  society  by  crime,  in- 
dolence, or  misfortune. 

Of  the  prisoners'  songs,  the  first  printed  below  has  been  popular 
for  a  long  time  over  a  wide  area.  One  of  the  editors  of  this  col- 
lection learned  the  tune  and  a  few  stanzas,  forty  years  ago,  from  a 
stout  and  jolly  young  white  man  who  sang  it  in  a  rich  bass  voice 
while  he  chopped  cotton  in  a  Mississippi  creek-bottom  field.  The 
same  singer  rendered  it  again  one  night,  to  guitar  accompaniment, 
in  a  moonlit  farmyard  during  one  of  the  intermissions  of  a  country 
breakdown.  'Twenty-One  Years'  has  at  least  one  stanza  notable 
in  folk  song  for  its  expression  of  utter  loneliness  and  alienation. 
Though  lamenting  "hard  times,"  "Durham  Jail"  is  satirical  rather 
than  self -pitying. 

Not  knowing  well  the  gypsy,  whom  European  folk  have  senti- 
mentalized about,  the  American  i)eople  have  romanticized  the  tramp 
or  hobo.  Half  a  dozen  of  the  following  pieces  illustrate  this  tend- 
ency. 'May  1  Sleej)  in  \'()ur  Barn  Tonight.  Mister?'  is  a  widely 
popular  sob  story  accounting  for  the  speaker's  vagrancy.  Though 
a  ballad  in  narrative  content,  its  self-conscious  and  calculated  pathos 
may  justify  our  placing  it  here,  if  not  for  a  reason  similar  to  that 
which  left  'Tom  Dula's  Lament'  among  the  ballads.     Much  the  same 


S  ()  N  V.  S     ()  I'      !•  R  1  S  ()  N   K  K  S      A   N   I)     T  K  A   M   I'  S  4I  I 

admission  iiii.yht  he  mack'  al)()Ut  "I'ale  of  a  Traini).'  The  others, 
though,  are  rather  lyrical  tlian  narrative.  All  these  pieces  are  more 
concerned  about  arousing  sympathy  with  or  for  a  human  derelict 
than  about  telling  a  story  for  its  own  sake.  And.  poor  as  most  of 
them  are,  they  may  be  more  interesting  than  are  editorial  reasons 
for  placing  thcni  where  they  are. 

The  Prisoner's  Song 

Miss  Scarborough  (SCSM  346)  thinks  this  is  a  descendant  of 
the  English  'Here's  Adieu  to  All  Judges  and  Juries,'  which  is  re- 
ported from  Sussex  in  JFSS  i  135.  In  this  country,  especially  in 
the  Southern  mountains,  it  has  got  mixed  with  a  sentimental  song 
by  J.  A.  Wade,  'Meet  Me  in  the  Moonlight,'  which  has  nothing  to 
do  with  prisoners.  In  its  characteristic  Appalachian  form  it  has 
three  motives:  the  jail,  the  moonlight,  and  a  ship.  Nova  Scotia 
texts  (BSSNS  303,  SENS  309)  know  nothing  of  the  ship  or  the 
moonlight.  But  texts  from  Virginia  (SCSM  347-9),  Kentucky 
(ASb  216-7),  North  Carolina  (SCSM  349-51),  and— as  it  hap- 
pens—Iowa (MAFLS  XXIX  49)  have  all  three.  Another  from 
Kentucky  (  FSSH  327)  has  the  prison  cell  but  no  moon  or  ship; 
one  from  West  Virginia  (FSmWV  71-2)  has  the  ship  and  the 
moonlight;  one  from  Tennessee  (JAFL  XLV  82-3)  and  a  Negro 
song  (NWS  83-4,  not  treated)  have  the  ship  only;  another  from 
North  Carolina  (BMFSB  54-5)  has  the  prison  cell  only,  no  ship 
and  no  moonlight;  and  one  from  Mississippi  (JAFL  xxx'ix  153-4), 
not  a  prisoner's  song  at  all,  yet  has  the  ship  stanza.  'Meet  Me  in 
the  Moonlight'  appears  also  in  our  collection  sometimes  without  anv 
connection  with  'The  Prisoner's  Song.' 


'Meet    Me   in    the    Moonlight."      Reported    by    Miss    Amy    Henderson    of 
Worry,  Burke  county,  in  1914. 

1  Off  to  the  jail  house  tomorrow 

Not  far  to  leave  my  little  darling  alone. 
With  them  cold  iron  hars  around  me 
And  my  pillow  is  made  of  stone. 

Chorus: 

Meet  me  tonight,  darling,  meet  me 
Out  in  the  moonlight  alone. 
For  I  have  a  secret  to  tell  you 
AFust  he  told  in  the  moonlight  alone. 

2  Oh,  I  heard  that  your  jjarents  don't  like  me. 
They  have  driven  me  away  from  their  door ; 
If  I  had  those  days  to  go  over 

I  would  never  come  back  anv  more. 


412-  N  0  R  T  H      C  A  R  O  L  I  N  A      K  O  I.  K  I.  ()  R  E 

3  If  1  liad  a  ship  oil  the  ocean 

All  lined  with  bright  silver  and  gold, 

Before  mv  darling  should  suffer 

Mv  ship  should  he  anchored  and  sold. 

4  I  am  dving  for  some  one  to  love  me 
And  some  one  to  call  me  their  own, 
For  some  one  to  be  with  me  always  ; 
1  am  tired  of  living  alone. 

Dr.   Brown  notes  on  tlie  manuscript  tliat  lie  heard  the   cliorus  as  : 

A\"on't   vou  meet  me.  won't  you  meet  me  by  the  moon- 
light. 
Won't  you  meet  me  by  the  moonlight  tonight? 
I  have  a  sweet  story  to  tell  you. 
Won't  you  meet  me  by  the  moonlight  tonight?' 

and  one  stanza  as  : 

'I  have  three  ships  out  on  the  ocean 
All  lined  with  silver  and  gold 

I  would  have  them and  sold.' 

B 

'Meet    Me   hy   the    Moonliglit.'      Reported   by   W.    Amos    Abrams    from 
Boone,  Watauga  county. 

1  I  am  going  to  a  new  jail  tomorrow. 
Leaving  the  one  that  I  love. 
Leaving  my  friends  and  relations; 
And  oh !  how  lonely  my  home. 

Chorus: 

Meet  me  by  the  moonlight,  love,  meet  me, 
Meet  me  by  the  moonlight  alone. 
For  I  have  a  sad  story  to  tell  you 
To  be  told  bv  tlie  moonlight  alone. 

2  My  parents  how  cruel  they  treat  me. 
They  drove  me  away  from  their  door. 
If  I  live  to  be  a  hundred  years  older, 
I'll  never  go  back  anv  more. 

3  (  )li !  if  1  had  the  wings  of  an  angel 
I'd  fl\-  o'er  land  and  o'er  sea, 

I'd  f\y  in  the  arms  of  my  darling, 
And  oh !  how  happy  I'd  be. 


S  0  \  (',  S      ()  1"      r  K  I  S  ()  N   1".  K  S      A  N  1)     T  K  A  M  I'  S  4T3 

4  ( )h  !  I  wisli  I  had  sonic  one  to  low  nic. 
Some  one  to  call  me  her  own. 

Some  one  to  always  he  with  me ; 
I  am  tired  of  living-  alone. 

5  (  )h  !  now  1  have  some  one  to  love  me. 
Some  one  to  call  me  her  own, 

Some  one  to  always  he  with  me; 
(  )h  !  don't  it  heat  livin^^  alone? 

6  1  have  a  little  ship  on  the  ocean 
All  lined  with  silver  and  gold. 

I  know  that  my  darling  does  own  it; 
1  know  it.  for  I  have  heen  told. 

C 

'The  Prisoner's  Song.'  From  the  Jnlm  Uurch  Blaylock  Collection. 
This  has  all  three  of  tlie  characteristic  elements — the  jail,  tlie  ninoniiglit, 
and  the  siiip. 

1  (  )h,  I  wish  I  had  someone  to  love  me. 
Someone  to  call  me  their  own ; 

Oh,  I  wish  I  had  someone  to  live  with, 
For  I'm  tired  of  living  alone. 

2  Oh,  meet  me  tonight  in  the  moonlight. 
Meet  me  out  in  the  moonlight  alone  ; 
For  I  have  a  sad  story  to  tell  you. 

It's  a  story  that's  never  heen  told. 

3  I'll  he  carried  to  the  new  jail  tomorrow, 
Leaving  my  poor  darling  alone. 

With  those  cold  prison  hars  all  around  me 
And  my  head  on  a  pillow  of  stone. 

4  I  wish  I  had  wings  like  an  angel ; 

I'rom  these  dark  prison  walls  I  would  fly, 
I  would  fly  to  the  arms  of  my  darling 
And  there  I'd  be  willing  to  die. 

5  1  have  a  fine  ship  on  the  ocean, 
All  lined  with  silver  and  gold ; 

And  before  my  poor  darling  should  sulifer 
J\ly  fine  ship  would  be  anchored  and  sold. 

D 

'Meet  Me  in  the  Moonlight.'  From  A.  E.  Elliott  of  Farmer,  Randolph 
county.  With  the  tune.  Four  stanzas  and  chorus,  of  which  stanzas 
I,  2,  4,  and  chorus  correspond  with  slight  vcrhal  variations  to  stanzas 
I,  2,  3.  and  chorus  of  A.     Stanza  3  runs: 


414  NORTH  CAROLINA  FOLKLORE 

If  I  had  the  wings  of  an  angel 

I  would  fly  far,  far  away, 

I  would  fly  to  the  arms  of  my  darling 

And  there  I'd  he  willing  to  stay. 


'Meet  Me  by  tlie  Mooiiliglit.'  From  the  manuscripts  of  Oliadiali  John- 
son of  Crossnore,  Avery  county.  In  this  there  is  no  mention  or  thought 
of  a  prison,  yet  it  is  clearly  a  form  of  the  same  song  as  the  four  texts 
preceding. 

1  I  am  going  to  leave  you  tomorrow, 
To  sail  on  the  ocean  so  blue. 

To  leave  all  my  friends  and  relations ; 
I  have  come  now  to  bid  you  adieu. 

2  Then  meet  me  by  the  moonlight,  love,  meet  me ; 
I  want  to  see  yoti  alone. 

To  tell  of  the  heart  that  is  breaking 
To  leave  my  love  and  my  home. 

3  I  hate  to  leave  you,  my  darling ; 
But  my  parents  to  me  are  unkind. 
To  prove  false  words  that  are  spoken 
Has  never  once  entered  my  mind. 

4  I  have  a  fine  ship  on  the  ocean 
All  lined  with  silver  and  gold. 
And  before  my  lover  shall  perish 

I'll  have  that  ship  anchored  and  sold. 

5  1  have  c(Mne  by  the  moonlight  to  see  you. 
To  tell  of  my  future  time. 

I  am  going  to  seek  for  a  fortune. 
Will  return  and  claim  you  for  mine. 

6  Your  return  to  me  is  uncertain. 
But  to  you  I  will  ever  be  true. 

God  grant  you  may  have  a  safe  voyage 
And  our  days  apart  may  be  few  ! 

7  1  know  that  heaven  will  bless  us 
And  the  angels  will  guide  you  aright. 
To  help  yoti  rettirn  to  }-our  loved  one, 
TlKJUgh  her  heart  is  breaking  tonight. 

8  Years  i)assed  and  she  prcned  to  him  faithful, 
To  another  she  never  was  wed. 

And  her  life  it  seemed  blighted  forever 

\\  hen  she  heard  that  her  true  love  was  dead. 


SONGS     ()  I"      I'  K  1  S  ()  N   I".  R  S     A  X  I)     T  K  A  M  P  S  4I5 

F 

'Meet  Me  Tonight.'  Contributed  by  Zilpah  Frisbie  of  Marion,  McDowell 
county,  in  1923.  Only  two  stanzas  reported,  the  first  of  Wade's  song 
and  the  ship  stanza,  hut   she  notes  tliat   "tliere  are  several   more  verses." 


'I  Have  a  Ship  on  tlie  Ocean.'  Obtained  from  .Miss  Jewell  Kobbins 
(later  Mrs.  C  P.  Perdue)  of  Pekin,  Montgomery  county,  in  \t)2i. 
The  jail  and  the  moonlight  have  vanished  from  this  version,  yet  it  is 
clearly  a  form  of  the  same  song. 

1  I  have  a  secret  to  tcil  yoti.  sweet  love, 
Abotit  the  ship  on  the  sea ; 

And  if  you  think  you  can  hear  it,  sweet  love, 
I'll  tell  it  to  yoti  in  a  dream. 

Chorus: 

Darling,  the  shi])  is  on  the  ocean. 

As  ever  near  to  me  ; 

Darling,  this  world  would  lose  its  motion 

If  I  proved  false  to  thee. 

2  I  have  a  ship  on  the  ocean,  sweet  love. 
All  lined  with  silver  and  gold. 
Before  I'd  see  you  sufifer,  sweet  love, 
I'd  anchor  my  ship  to  be  sold. 

3  Some  say  love  is  ])leasure.  sweet  love ; 
What  pleasure  do  I  see 

When  the  one  I  love  so  dearly,  sweet  love. 
Has  turned  her  back  on  me? 

H 

*I  Had  a  Little  Ship.'  Obtained  from  Miss  Jennie  Belvin  of  Durham 
in  1922.     Perhaps  not  the  same  song;  nothing  is  left  here  but  the  ship. 

1  I  had  a  little  ship  on  the  ocean 
All  lined  with  silver  and  gold. 
.\nd  freely  would  I  give  it 

To  call  little  .Sallie  my  own. 

2  Little  Sallie.  little  Sallie  mv  darling. 
Little  Sallie,  little  Sallie  my  own. 
And  freely  would  I  give  it 

To  call  little  Sallie  my  own. 

I 

'Meet  Me  in  the  Moonliglit.'  Obtained  by  C.  G.  Knox  in  1923  or 
thereabouts  from  Miss  Gertrude  Smith  of  Morganton,  Burke  county. 
Here  there  is  little  left  of  the  prisoner  motive.  The  first  tliree  stanzas 
correspond  i  to  the  chorus  of  A,  2  to  stanza  3  of  C,  3  to  stanza  2  of 
A,  and  the  fourth  stanza  runs : 

N.C.F.,  Vol.  TTT.   (29) 


4l6  NORTH  CAROLINA  FOLKLORE 

When  the  cold,  cold  clay  is  around  me 
Won't  yon  come  and  shed  one  hitter  tear 
And  say  to  the  friends  standing  round  me. 
'There's  a  heart  I  have  loved  long  ago'  ? 

J 
'Sweet    Lulur.'      From    John    AI.    Greer    of    Boone,    Watauga    county,    in 
191 5.     Here  we  have  the  prisoner  and  tlie  sliip.  hut  no  mounliglit. 

1  He  hound  my  feet  in  cold  iron. 
All  tangled  my  feet  in  chains 

But  hefore  I'll  go  hack  on  sweet  Lulur 
I'll  have  them  tangled  again. 

Chorus: 

O  Lulur,  O  Lulur  my  darling, 
O  Lulur.  O  Lulur  my  dear. 
If  it  hadn't  heen  for  sweet  Lulur, 
Sweet  Lulur  that  brought  me  here ! 

2  I  had  three  ships  on  the  ocean 
All  lined  with  silver  and  gold. 

And  hefore  I'll  go  back  on  sweet  Lulur 
I'll  have  them  hoisted  and  sold. 

K 

'Sweet  Lulur.'  From  Thomas  Smith,  Watauga  county,  in  1915,  with 
the  notation :  "The  above  verses  are  all  I  recall  of  a  song  which  I 
heard  sung  when  a  child  probably  thirty  or  more  years  ago  by  a  Miss 
Louise  Wilson  at  my  grandmother's  house." 

When  I  was  in  Danville,  a-walking  down  the  street. 
I  spied  a  policeman  who  bound  my  hands  and  feet ; 
He  bound  my   feet  in  cold  iron,  all  tangled  my   feet  in 

chains. 
But  before   I'll  go  back  on   sweet   Lulur   I'll   have   them 

tangled  again. 

Oh  Lulur,  oh  Lulur,  my  darling,  oh  Lulur,  oh  Lulur,  my 

dear. 
If  P  hadn't  a-been   for  sweet   Lulur,  it  was  Lulur  that 

brought  me  here. 

351 
Seven  Long  Years 

Quite  distinct  from  'The  Prisoner's  Song:,'  thoiic:li  it  has  a  similar 
theme.  It  has  been  reported  (with  considerable  variations  in  text) 
from  Nova   Scotia    (BSSNS  303,   SENS  309),  Kentucky    (FSSH 

^  One  expects  "it." 


S  O  N  t;  S     ()  I'     1-  IM  S  ()  X  K  K  S     A  N  1)     T  K  A  MPS  417 

Z^"/^,  and  Oiiio  (ASh  218-19,  where  Satulburg  says  lie  got  part  of 
his  text  from  Denison,  Ohio,  and  part  of  it  from  a  soldier  in  the 
Spanish-American  War).  Miss  Geneva  Anderson's  "A  Collection 
of  Ballads  and  Songs  from  East  Tennessee"  (unpublished  Univer- 
sity of  North  Carolina  thesis,  1932),  p.  230,  contains  a  song  of 
four  stanzas  and  chorus,  in  a  different  order  and  with  minor  dif- 
ferences in  the  chorus.  The  thiril  stanza  of  our  text  is  an  echo 
from  'Little  Sparrow.' 

'Seven  Long  Years."  Contril)utc(l  by  P.  D.  Midgett  of  Wanchcse, 
Roanoke  Island,  in  1920. 

1  1  have  a  father  and  a  mother 
That  dwell  in  a  cottage  by  the  sea. 
I  have  a  brother  and  a  sister. 

I  wonder  if  they  ever  think  of  me. 

Chorus: 

Sad.  sad  and  lonely. 

Sitting  in  a  cell  all  alone. 

Thinking  of  the  days  that  have  gone  by  me 

And  the  time  when  I  done  wrong. 

2  Seven,  seven  long  years  in  state  prison, 
Se\en.  seven  long  years  to  remain, 

For  knocking  a  man  down  the  alley 
And  swdping  his  gold  watch  and  chain. 

3  If  I  had  the  wings  of  a  sparrow 
Across  this  wide  world  I  would  fly, 
I'd  fly  to  the  arms  of  my  darling. 
There  I  would  lay  me  down  and  die. 

352 

Twenty-One  Years  Is  a  Mighty  Long  Time 

Henry  (SSSA  69)  prints  a  version  of  this  song  from  Tennessee, 
taken  down  in  1932.  Alton  C.  Morris,  in  FSF  67-9,  gives  a  better 
and  longer  version,  noting  that  it  "is  a  popular  barn-dance  number 
used  by  fiddling  bands  on  radio  programs"  and  "is  sung  extensively 
by  the  rural  folk  of  Florida."  He  includes,  also,  'Answer  to  Twenty- 
One  Years,'  attesting  to  its  popularity.  The  first  stanza  of  Morris's 
'Twenty-One  Years'  reads : 

'The  judge  says,  "Stand  up.  boys,  and  dry  your  tears; 
You're  sentenced  to   Nasliville  for  twenty-one  years." 
So  kiss  me  goodbye,  llabe.  and  say  you'll  l)e  mine. 
For  twenty-one  years.  Hatie,  is  a  mighty  long  time.' 

This  may  indicate  the  appro.ximate  form  Miss  Walker's  first  stanza, 
below,  would  have  if  it  were  complete.  (  io  these  references  add 
Randolph  OFS  11  156-9.) 


4l8  NORTH  CAROLINA  FOLKLORE 

'Twenty-One   Years    Is   a    Mighty   Long   Time.'      From   a    MS    book   of 
songs  lent  to  Dr.  Brown  c.   1936  by  Miss  Edith  Walker,  Boone. 

1  The  judge  said,  'Stand  up,  boy,  and  dry  your  tears; 
You're  sentenced  to  Nashville  for  twenty-one  years.' 

Babe,  is  a  mighty  long  time. 

2  Hear  the  train  blow,  Babe,  she'll  be  here  on  time 
To  carry  me  to  Nashville  to  serve  out  my  time. 

So  hold  up  your  head.  Babe,  and  kiss  me  goodbye. 
Best  friends  must  part.  Babe;  so  must  you  and  I. 

3  Oh,  look  down  the  railroad,  as  far  as  you  can  see. 
And  keep  on  waving  your  farewell  to  me. 

The  steam  from  the  whistle,  the  smoke  from  the  stack — 
I'm  going  away.  Babe,  but  I  will  be  back. 

4  Go  beg  the  governor,  on  your  sweet  soul ; 

If  you  can't  get  a  pardon,  try  to  get  a  parole. 

For  if  I  had  the  governor  where  the  governor's  got  me, 

Before  Tuesdav  morning  that  governor  would  be  free. 

5  Six  months  have  passed.  Babe.     I  wish  I  was  dead — 
This  dirty  old  jail  house,  no  clothes  for  a  bed. 

It's  raining,  it's  hailing,  the  moon  gives  no  light. 
Tell  me  why.  Babe,  you  never  do  write. 

6  I've  counted  the  days.  Babe,  I've  counted  the  nights, 
I've  counted  the  moments.  I've  counted  the  lights. 
I've  counted  the  footsteps.  I've  counted  the  stars, 
I've  counted  a  thousand  of  the  prison  bars. 

353 
Write  My  Mother  I'll  Be  Home 

No  title.     Contributed  by  H.  A.  Cherry,  Lilcsvillc.  Anson  county  :  a  stu- 
dent in  Trinity  College  1922-24. 

1  There  is  somewhere  the  sun  is  shining. 
There  is  somewhere  a  little  rain. 
There  is  somewhere  the  sun  is  shining. 
There  is  somewhere  a  little  rain. 

2  Some  ol'  day.  some  rainy  day. 

Write  my  mother  I'll  be  home,  some  ol'  day. 

Ain't  got  no  friends  to  take  me  in. 

Write  my  mother  I'll  be  home  some  ol'  day. 

3  Say,  the  white  folks  got  me  on  the  ball  an'  chain, 
Pick  and  shovel,  working  in  de  rain, 


SON  C.  S     O  !-•      P  R  1  S  0  N   K  k  S     A  X  1)     T  K  A  M  P  S  4I9 

For  I  ain't  got  no  friends  to  take  me  in. 
Write  my  mother  I'll  be  home  some  ol'  day. 

Some  ol'  day,  some  rainy  da}-, 

Write  my  mother  I'll  be  home — I'm  on  m\'  way. 

I  ain't  got  no  friends  to  take  me  in. 

Write  my  mother  I'll  be  home  some  ol'  day. 

If  I  had  died  when  I  was  young, 

Would  not  had  this  rick  to  run. 

For  I'm  in  the  rain,  wearing  ball  'n'  chain. 

Write  my  mother  I'll  be  home  some  ol'  day. 

Oh,  Stella,  can  1  be  your  fellow  ? 

Oh,  Stella,  can  I  be  your  man? 

She  said,  'No,  for  I've  got  a  beau.' 

I'm  in  de  rain  wearin'  ball  'n'  chain. 

Write  mv  mother  I'll  be  home  some  ol'  day. 


354 
Durham  Jail 

'Durham  Jail.'  By  D.  W.  Fletcher.  One  of  the  group  of  songs  pre- 
pared by  Dr.  Brown  for  printing,  about  1916-18.  His  note  says:  "As 
collected  from   E.   L.   Husketh,   who   learned   it   from   convicts   in    1890." 

1  Your  breakfast  comes  round,  it's  cold  corn  bread ; 
It's  hard  as  a  rock  and  heavy  as  lead. 

One  cup  of  cold  water,  and  mush  on  your  bread : 
You're  bound  to  starve  out  in  Durham's  old  jail. 

Chorus: 

Hard  times  in  jail,  yes,  it  is  hard  times 
In  Durham's  old  jail,  hard  times  in  jail. 

2  It  has  often  been  thought,  but  a  shame  to  be  told. 
That  an  Irishman  drinks  buttermilk  seven  davs  old. 
O,  yes.  there's  lice  in  jail  as  long  as  a  rail ; 
There's  lice  in  jail  under  your  sliirt  tail. 

3  There's  a  city  police,  a  set  I  despise ; 

They'll  come  to  your  house  with  a  mouth  full  of  lies. 
They  hum  and  they  haw,  your  pockets  they  pick. 
Get  drunk  on  your  money,  and  doing  so  will . 

4  There  was  old  Judge  McCoy  I  like  to  forgot. 
Another  grand  rascal  we  have  in  our  lot. 
He'll  hum  and  he'll  haw  and  talk  about  bail — 
No  bail  for  a  negro,  but  slap  him  in  jail. 


420  X  O  R  T  II     CAROLINA     FOLKLORE 

5     The  judge  and  llie  jury  is  a  hnrrihle  crew. 

They'll  look  cm  ihe  i)ri.soner  like  looking-  him  thr